Dance Victoria 2019-2020 Season | Aspen Santa Fe Ballet program insert

SEASON SPONSOR

LEAD SPONSORS

Aspen Santa Fe Ballet

An Evening with Pianist Joyce Yang November 15 + 16, 2019 • 7:30 pm • Royal Theatre Running time: 2 hours (including two intermissions) The Royal Theatre is located on the traditional lands of the Lekwungen peoples, also known as the Esquimalt and Songhees Nations. We extend our appreciation for the opportunity to live, create, and perform on this territory.

About the Works Where We Left Off

(26 minutes) ASFB Commissioned Work Choreography: Nicolo Fonte Music: Philip Glass* Lighting Design: Seah Johnson Costume Design: Mark Zappone Staged By: Emily Franc Piano: Joyce Yang Dancers: Katherine Bolaños, Sadie Brown, Jonah Delgado, Jenelle Figgins, Matthew Gilmore, Anthony Tiedeman, Pete Leo Walker, Joseph Watson, Jenny Winton, Kaya Wolsey Premiere: February 11, 2011, Aspen Santa Fe Ballet, Aspen, CO

Jenelle Figgins, Matthew Gilmore, Anthony Tiedeman, Pete Leo Walker, Joseph Watson, Jenny Winton, Kaya Wolsey Aspen Santa Fe Ballet’s production of Dream Play is made possible through the generosity of Kelley and Mark Purnell.

In Dream Play, the audience is invited to experience a constant shift of perspective…between the whimsical world created by the artists and the raw process that generates its animation. It is my hope that this theatrical experience will stimulate your imagination and generate countless interpretations for your enjoyment. It’s important to note the creative process and the development of the physical vocabulary was a collective act in which all parties involved proposed ideas and solutions. – Fernando Melo

Aspen Santa Fe Ballet’s production of Where We Left Off is made possible through the generosity of Toby Devan Lewis. * Mad Rush, Metamorphosis No. 2 by Philip Glass. © 1979, 1988 Dunvagen Music Publishers Inc. Used by Permission.

– Intermission –

Dream Play

(20 minutes) ASFB Commissioned Work Choreography: Fernando Melo Co-creator: Shumpei Nemoto Music: Erik Satie, Frédéric Chopin Lighting Design: Seah Johnson Costume Design: Jérôme Delbey Scenic Design Construction: Danny Bacheldor Piano: Joyce Yang Dancers: Katherine Bolaños, Sadie Brown, Jonah Delgado,

– Intermission –

Half/Cut/Split

(31 minutes) ASFB Commissioned Work Choreography: Jorma Elo Music: Robert Schumann Lighting Design: Seah Johnson Costume Design: Nete Joseph Piano: Joyce Yang Dancers: Katherine Bolaños, Sadie Brown, Jenelle Figgins, Anthony Tiedeman, Pete Leo Walker, Joseph Watson Premiere: April 5, 2018, Aspen Santa Fe Ballet, Orange County, CA Aspen Santa Fe Ballet’s production of Half/Cut/Split is made possible through the generosity of the Aspen Music Festival & School, The City of Aspen, Orange County Philharmonic Society, and Bunni & Paul Copaken.

About Aspen Santa Fe Ballet Ballet’s dynamic story in the American West In 1996, Aspen Santa Fe Ballet Founder Bebe Schweppe invited Tom Mossbrucker and Jean-Philippe Malaty to create a ballet company in Aspen. A unique, multidimensional arts organization developed rapidly from the ballet school Schweppe had established in the Rocky Mountains.“Bebe’s vision for Aspen to have its own ballet company was the project of a lifetime,” says Malaty, ASFB’s Executive Director.

“We embarked together on a serendipitous adventure. More than twenty years later, the connection between the dancers and our two communities is deep and inextricable.”

Forging a new frontier The company began modestly with seven dancers. Growth was organic. Friends in the field—Gerald Arpino, Trey McIntyre, Septime Webre, Dwight Rhoden—offered start-up repertoire.

Moses Pendleton’s popular Noir Blanc was a seminal event for the young ASFB. It launched a tradition of commissioning new works. An open, exploratory style emerged as Mossbrucker and Malaty tapped the creative scene in Europe where classical ballet was breaking from its boundaries. The athletic and adventurous American dancers found themselves at a crossroads of dance history. The divide between ballet and modern dance was dissolving.

Innovative business model In 2000, the Aspen, Colorado-based ballet company forged a dual-city relationship with Santa Fe, New Mexico, broadening its scope and lending crucial revenue diversification. Under this hybrid business model, a roster of arts activities flourishes year-round in both cities. Performance, education, presentation, and community outreach all join in the mix. In 2014, ASFB shared resources with a local troupe, Juan Siddi Flamenco Santa Fe (JSFSF). This entrepreneurial project led to artistic heights at Jacob’s Pillow and New York’s Joyce Theater. Fortified with new experience and relationships, JSFSF continues to thrive in its own right.

New commissions ASFB’s mission places highest priority on developing new dance works and nurturing relationships with emerging choreographers. The company fostered the early careers of

now in-demand global dance makers like Nicolo Fonte (eight commissioned Fonte works in the ASFB repertoire), Jorma Elo (four commissioned Elo works), Edwaard Liang, Jacopo Godani, Helen Pickett, Cayetano Soto, Alejandro Cerrudo, and others.

Works by late 20th century masters—William Forsythe, Jiří Kylián, Twyla Tharp—round out the repertoire.

“We value building relationships with choreographers who become integral to the company. The natural beauty of our surroundings has a profound impact on creativity. Our choreographers find it inspiring to create here,” says Mossbrucker, ASFB’s Artistic Director.

Renowned in the U.S. & abroad Based in the American West, ASFB occupies the vanguard of its field, brandishing a strong national reputation. Repeat engagements at the American Dance Festival, Harris Theater for Music and Dance, Jacob’s Pillow Dance Festival, Joyce Theater, The Kennedy Center, Saratoga Performing Arts Center, and Wolf Trap testify to the company’s popularity and ability to please audiences. The company has toured overseas as well, with prestigious invitations and bookings in Brazil, Canada, France, Greece, Guatemala, Israel, Italy, and Russia.

Premier funders—National Endowment for the Arts, New England Foundation for the Arts / National Dance Project, Joyce Foundation, Shubert Foundation, Wolf Trap Foundation, Jerome Robbins Foundation, and Princess Grace Foundation—have supported ASFB’s growth.

Into a bright future Since its founding in 1996, ASFB has carved a reputation as a dance-lover’s dance company. It has genuinely reshaped the field, introducing new choreographic talent to national stages, fostering a new breed of exceptional dancer, and stimulating audiences with high-caliber performances. Fueled by an annual budget of over $4 million and an endowment nearly twice that size, the company’s strong artistic vision is supported by solid financial footing.

Joyce Yang by KT Kim. Jean-Philippe Malaty by Michele Cardamone. Bebe Schweppe courtesy of ASFB.

Biographies Grammy-nominated pianist Joyce Yang came to international attention when she won the silver medal at the 12th Van Cliburn International Piano Competition in 2005.

The youngest contestant at 19 years old, she also took home the awards for Best Performance of Chamber Music and of a New Work. A Steinway artist, she received an Avery Fisher Career Grant in 2010 and her first Grammy nomination in 2017 (Best Chamber Music/Small Ensemble Performance) for her recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich. Yang has performed with the New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, and BBC Philharmonic, among many others, working with such distinguished conductors as James Conlon, Edo de Waart, Manfred Honeck, Lorin Maazel, Leonard Slatkin, and Jaap van Zweden. She has appeared in recital at New York’s Lincoln Center and Metropolitan Museum, Washington’s Kennedy Center, Chicago’s Symphony Hall, and Zurich’s Tonhalle. In the 2017/2018 season, Yang embarked on a journey of debuts, collaborations, and premieres. Highlights included her 12th consecutive appearance as a guest artist at the Aspen Music Festival, her debut with the New Zealand Symphony Orchestra under Edo De Waart performing Rachmaninov’s Piano Concerto No. 3 in five New Zealand cities, a reunion with the Baltimore Symphony Orchestra for three performances of Prokofiev’s Piano Concerto No. 3, and her first collaboration with the Aspen Santa Fe Ballet on a new work for dancers and solo piano choreographed by Jorma Elo. This work, Half/Cut/Split received its world premiere in Aspen in March 2018. Yang will also perform alongside the Nashville Symphony Orchestra, Lexington Philharmonic, Eugene Symphony, Santa Rosa Symphony, Rochester Philharmonic, Milwaukee Symphony, Reno Philharmonic, Allentown Symphony, Oklahoma City Philharmonic, Vancouver Symphony, and Asheville Symphony. She will continue her enduring partnership with longtime collaborators Alexander String Quartet with performances of works by Schumann and Brahms in California and New York.

Born in Seoul, Korea, in 1986, Yang received her first piano lesson from her aunt at age four. In 1997 she moved to the United States to study in the pre-college division of the Juilliard School. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. Yang appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. www.PianistJoyceYang.com | www.facebook.com/PianistJoyceYang

ASPEN SANTA FE BALLET Bebe Schweppe, Founder, grew up in Augusta, Georgia, and started dancing at the Georgia Dance Theatre, under Frankie Levy at the age of seven. She was invited

by Robert Joffrey to study at his school in New York on a full scholarship at age eleven. Bebe moved to Aspen in 1975 and fifteen years later founded the Aspen Ballet School. Her presence was a catalyst in the region. In 1996, she invited Jean-Philippe Malaty and Tom Mossbrucker to develop a small professional company in Aspen. Through their combined energies, the Aspen Ballet Company was born a year later. Shortly after, new performing opportunities beckoned in Santa Fe, upon which the company was renamed Aspen Santa Fe Ballet.

Bebe speaks with pride when she considers the changes that have occurred over the years to her “baby”. “The Company has evolved to having earned a name of its own - ASFB. What a treat! It is recognized by other artists and respected by all.

This is of course due in large part to Jean-Philippe and Tom.” She cites that “their strength has been in their unique ability to perceive and design a repertoire that entertains all parts, whether it’s the audience or the dancer.” Tom and JeanPhilippe have “greatly succeeded” in realizing her dreams for the company, she says. “I am thankful that I had the dream and was lucky and persistent enough to convince JP and Tom to relocate from New York City. Never did I imagine that one day the company would be performing nationally and internationally and never did I imagine that one day they would be performing works by internationally famous choreographers. Although I had the dream, I never imagined so much. I feel very lucky.”

Jean-Philippe Malaty, Executive Director, was born in the Basque region of France.

After receiving his baccalaureate in dance, he accepted scholarships to study at Mudra, Maurice Béjart’s school in Brussels, and at John Cranko’s ballet academy in Stuttgart. Invited by acclaimed instructor David Howard to study in New York, Jean-Philippe traveled to America under Howard’s tutelage. Jean-Philippe’s performance career began with Joffrey II. He also danced as a guest artist with Los Angeles Classical Ballet, Ballet Hispánico, and the Lyric Opera of Chicago. Jean-Philippe segued from the stage to an administrator role while still in his twenties. A key member of Aspen Santa Fe Ballet’s start-up team, Jean-Philippe has been central to developing the company’s unique dual-citybased hybrid business model. He directs operations in two

Biographies (cont’d)

“Dance is a celebration of the human spirit, and not a celebration of steps. Here at Aspen Santa Fe Ballet, we foster the spirit and the love of dance.” – Jean-Philippe Malaty Tom Mossbrucker, Artistic Director, has been artistic director of Aspen Santa Fe Ballet since 1996. For the past 17 years, Tom has built a prestigious arts organization sharing two homes in Aspen and Santa Fe. In his role as Artistic Director, Tom cultivates highly sophisticated and challenging works of contemporary ballet. His shining achievement is ASFB’s roster of 27 ballets created on commission by leading global choreographers.

Tom began to dance at age four, studying tap in his hometown of Tacoma, Washington. He pursued classical ballet training at the School of American Ballet and the Joffrey Ballet School. His 20 years as a principal dancer with the Joffrey Ballet, performing in over 70 ballets under the direct coaching of founders Robert Joffrey and Gerald Arpino, coincided with a period of high artistic achievement for the company. Tom danced in ballets by great twentieth century choreographers: Fredrick Ashton, George Balanchine, Laura Dean, William Forsythe, Jiri Kylián, Mark Morris, Paul Taylor and Twyla Tharp. Signature roles included Iago in Jose Limon’s The Moor’s Pavane; Champion Roper in Agnes DeMille’s Rodeo; Billy in Eugene Loring’s Billy the Kid; and Romeo in John Cranko’s Romeo and Juliet. This rich dance background Tom brings to coaching dancers today. In 2013, Tom shared an honour with Executive Director Jean-Philippe Malaty when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2010, in recognition of ASFB’s contribution to the field of dance, Tom and JeanPhilippe Malaty were honoured with the Joyce Theater Foundation Award. A former board member of Dance USA, Tom currently serves on the board of The Gerald Arpino and

Robert Joffrey Foundation.

“We strive for continuity and enjoy bringing choreographers back to create second and third works...to us that is success.”

– Tom Mossbrucker

DANCERS Katherine Bolaños, a native of Oklahoma City, is in her fifteenth season with ASFB. Katherine began her professional career with Ballet Oklahoma where she remained for seven years performing mostly classical roles. As a guest artist with the Los Angeles Ballet Ensemble, she toured extensively in Taiwan and China.

“I love the partnering in contemporary work and moving in a way that’s very slow, expressive, and creature-like. I enjoy rehearsing in the studio as much as performing on stage. The studio gives the freedom to grow artistically. On stage I feel like I’m in a different world.”

Sadie Brown, now in her seventh season with Aspen Santa Fe Ballet, began to dance in her hometown of Evansville, Indiana. She also studied at the Boston Ballet School, The Harid Conservatory, and the Walton School for Girls in Grantham, England. Sadie performed for three seasons with the Grand Rapids Ballet and as a guest artist with Evansville Dance Theater, Evansville Ballet, and Michigan Classic Ballet. Her guesting with Ballet Bratislava took her to Slovakia and Austria. “Dance allows me to explore emotions on such deep levels. When it’s time to perform, all those emotions come out. There is no better feeling than to have such free expression.”

A recent graduate from the dance program at Marymount Manhattan College, Jonah Delgado joined ASFB in May 2019. His formative dance training comes from The Academy of Dance Arts, Visceral Dance Chicago, Hubbard Street Dance, and a summer intensive with American Ballet Theatre. Delgado has had the opportunity to perform in various showcases and performances with companies as varied as Illinois Ballet Theatre to Martha Graham Dance Company.

Jenelle Figgins, a Washington D.C. native, began training at the historic JonesHaywood School of Ballet and Duke Ellington School of the Arts. She then won a full scholarship to Dance Theatre of Harlem’s Kennedy Center residency. After earning a BFA with honours from SUNY Purchase, she

Photos: Michele Cardamone

locations, overseeing a $4 million budget that he allocates to the company, two schools, an esteemed presenting series, and an award-winning folkloric outreach program. JeanPhilippe’s first love is teaching and when his schedule permits, he conducts master classes at schools and universities. In 2013, Jean-Philippe shared an honour with Artistic Director Tom Mossbrucker when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2012, the Denver Bonfils-Stanton Foundation granted Jean-Philippe a Livingston Fellowship in recognition of his significant leadership role in Colorado’s non-profit sector. In 2010, in recognition of ASFB’s contribution to the field of dance, Jean-Philippe and Tom were honoured with the Joyce Theater Foundation Award. A naturalized U.S. citizen, Jean-Philippe is proud to have forged a company alive with American energy, invention, and eclecticism.

attended Springboard Danse Montréal. Jenelle is a 2014 recipient of the Princess Grace Award. Previously with Dance Theatre of Harlem, Jenelle is now in her fourth season with Aspen Santa Fe Ballet. “I want to continue to learn by pairing movement with aspects of humanity. There is so much selfdiscovery in collaboration — and being part of a creation process makes me happy.”

Matthew Gilmore was born and raised in Canton, Massachusetts. He began his dance training at The Gold School and later went on to graduate from Walnut Hill School for the Arts. Matthew received his BFA from The Juilliard School in 2019. While at Juilliard he had the honour of performing the works of Nacho Duato, Merce Cunningham, Jerome Robbins, José Limón, Jessica Lang, Roy Assaf, Katarzyna Skarpetowska, and Helen Simoneau. Matthew is a recipient of the 2018 Princess Grace Award in Dance.

Photos: Michele Cardamone

Anthony Tiedeman, a graduate of The Juilliard School, brings to Aspen Santa Fe Ballet his exposure to works by master choreographers Merce Cunningham, Paul Taylor, and José Limón. Training in Lar Lubovitch’s choreography led Anthony to join Lar Lubovitch Dance Company for its Fall 2014 Joyce Theater season. A New Jersey native, Anthony has traveled abroad for summer intensives at Springboard Danse Montréal and Nederlands Dans Theater. This is Anthony’s fourth season with ASFB. “When I first saw Aspen Santa Fe Ballet at the Joyce, I was blown away by the intense physicality and strong, yet beautiful, technique. It’s a balance I try to bring to my own dancing.”

Pete Leo Walker is in his fourth season with Aspen Santa Fe Ballet following five seasons with Charlotte Ballet, where he performed a diverse repertoire of neoclassical and contemporary works. A native of Jacksonville, FL, Pete began training at Dansations Performing Arts Center and continued at the Nutmeg Conservatory for the Arts. Pete is a 2011 recipient of the Princess Grace Award. In 2013 he was featured as one of Dance Magazine’s “Top 25 to Watch.” “My mom was a part of the Rock Steady Crew in Brooklyn. She taught me to pop and lock, so contemporary classical ballet is the closest to my heart—with a technical element.”

Joseph Watson, now in his tenth season with Aspen Santa Fe Ballet, began formal dance training at TWIGS (To Work In Gaining Skills), a respected after-school program in his home town of Baltimore. After graduating from the Baltimore School for the Arts, Joseph attended The Juilliard School, earning his BFA in dance. He was a member of North Carolina Dance Theatre prior to joining ASFB. “I try not to overthink a performance. I just tell myself that I’m about to go on stage to do what I love. I love the zen feeling I get when I’m out there.”

Jenny Winton, in her first season with ASFB, began ballet at the San Francisco Ballet School and trained there on full scholarship, performing featured children’s roles throughout the years. In 2008 she was invited to join the second company of the Pennsylvania Ballet and, in 2009, she joined The Joffrey Ballet in Chicago, where she danced for five years. After competing as a Senior Soloist in the 2014 International Ballet Competition at Jackson, MS, Jenny then shifted gears to tour the country for two years performing the iconic role of Penny in the musical, Dirty Dancing. Jenny’s work ranges from dance to theatre to television, including a co-starring role in the first season of CBS’ ‘BULL.’ “Aspen Santa Fe Ballet’s repertoire has so much integrity and range that I knew it would allow me to use all of my tools, from theater to ballet.”

Kaya Wolsey is one of ASFB’s newest company members, joining in May 2019.

Her extensive background in dance includes formative training at notable institutions including Pacific Northwest Ballet School, Ballet West Academy, and San Francisco Conservatory of Dance, among others. After graduating from University of Utah Ballet Department in 2013, she accepted a contract with Ballet San Antonio, where she danced for a year before joining the second company of SALT Contemporary Dance in Salt Lake City. She moved to the main company in 2017 where she performed until her recent move to Aspen, while also performing as a guest artist for various performances and choreographers in the region.

Biographies (cont’d) Jorma Elo is one of the most sought-after choreographers in the world. He has created works for companies including American Ballet Theatre, San Francisco Ballet, New York City Ballet, Bolshoi Ballet, Royal Danish Ballet, Royal Ballet of Flanders, Vienna State Opera Ballet, Stuttgart Ballet, Netherlands Dance Theater, and Finnish National Ballet, among others. Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. He danced with Finnish National Ballet and Cullberg Ballet until joining Netherlands Dance Theater in 1990, where he enjoyed a 15year career. Elo was appointed Resident Choreographer of Boston Ballet in 2005, where he has created many world premieres, including Sharp Side of Dark (2002), Plan to B (2004), Carmen/Illusions (2006 & 2009), Brake the Eyes (2007), In on Blue (2008), Le Sacre du Printemps (2009), Sharper Side of Dark (2012), and Awake Only (2012). Boston Ballet premiered a full-length performance titled “Elo Experience” in 2011. Elo was awarded the Benois de la Danse prize for best choreography in 2010, for his production of A Midsummer Night’s Dream, commissioned by Vienna State Opera Ballet, and Slice to Sharp for the Stanislavsky Music Theatre. In 2012, the Finnish Government awarded Elo the Dance Artist Prize. Elo has also been awarded the Choreography prize in the 2005 Helsinki International Ballet Competition, and he was the recipient of the Prince Charitable Trust Prize and the Choo-San Goh Choreographic Award in 2006. He was nominated for a 2008 Isadora Duncan Dance Award. Elo has been featured in Esquire, Dance, and Pointe magazines.

Nicolo Fonte has created over 40 new works for dance companies spanning the globe, garnering praise and generating excitement for his daring and theatrical approach to dance. The Australian Ballet, Royal Danish Ballet and The Dutch National Ballet, among many others, all have works of his in their repertoire. Whether made to Ravel’s brash Bolero or the quiet intricacy of a Bach violin piece, Fonte ballets have common ground: “The choreography is inventive, creating expressive original shapes built on an undercurrent of implicit human relationships” (Foyer/Dance Europe). “What impresses the most is that his choreography is obviously the result of a personal reflection - distinctly and unmistakably Fonte, proof of a rare quality” (Michel Odin / Danse). As a member of Nacho Duato’s Compañia Nacional de Danza in Madrid, Fonte

forged a strong identity in the Spanish company for seven years, for both his dancing and his choreography. En los Segundos Ocultos (In Hidden Seconds), one of three ballets Fonte created for the company, was hailed as a breakthrough work of great impact with the poetic vision of a mature artist and indeed this ballet established his presence on the international dance scene. From 2003 to 2006 Mr. Fonte enjoyed a creative partnership with The Göteborg Ballet in Sweden helping to establish the company’s distinct profile.

There, he created his first full-length ballet, Re: Tchaikovsky, which appeared on the “Best of 2005” lists of both Ballett International and Dance Europe. Fonte has also played an important role in the ongoing development of Aspen Santa Fe Ballet as one of that company’s most popular guest choreographers. To date he has created eight highly successful works for ASFB. Mr. Fonte is currently Resident Choreographer for Ballet West in Salt Lake City, Utah.

Fernando Melo is originally from Rio de Janeiro, Brazil. At the age of 16 he was awarded a scholarship to train at the Vienna State Opera Ballet. He has been in Europe ever since, building his career as a dancer and choreographer and creating works around the world. Among the companies he has choreographed for are: Göteborgsoperans Danskompani (Sweden), where he is also currently rehearsal director; Deutsche Oper am Rhein Düsseldorf (Germany), Introdans (Holland), Staatstheater am Gärtnerplatz, München (Germany), Luzerner Theater (Switzerland), Luna Negra Dance Theater, Ballet Hispánico New York (U.S.A.), and Norrdans (Sweden). In addition, Fernando choreographs for opera. His recent projects include Die Schöpfung by Joseph Haydn for Vocal Futures, London, (U.K.), Daphne by Richard Strauss at the Théâtre du Capitole in Toulouse, (France), Solaris by Detlev Glanert at the Oper Köln (Germany) and L’Opera Seria

by Florian Leopold Gassman at La Monnaie in Brussels (Belgium).

Jorma Elo by Liza Voll, Nicolo Fonte by Jana Cruder and Fernando Melo by Joakim Roos

CHOREOGRAPHERS

Aspen Santa Fe Ballet Founder: Bebe Schweppe Artistic Director: Tom Mossbrucker Executive Director: Jean-Philippe Malaty Artists: Katherine BolaĂąos, Sadie Brown, Jonah Delgado, Jenelle Figgins, Matthew Gilmore, Anthony Tiedeman, Pete Leo Walker, Joseph Watson, Jenny Winton, Kaya Wolsey Production Stage Manager: Danny Bacheldor Lighting Supervisor: Seah Johnson

Aspen Santa Fe Ballet dancers and pianist Joyce Yang in Half/Cut/Split by Michele Cardamone

US & Canada Cathy Pruzan Artist Representative 4709 Paradise Drive Tiburon, CA 94920415-789-5051 cpruzan@aol.com Europe Bernard Schmidt Productions, Inc. 16 Penn Plaza, Suite 545 New York NY 10001212-564-4443 bschmidtpd@aol.com bernardschmidtproductions.com Israel Offer Zaks OZ Productions +972-52-8765341 offerzaks@gmail.com oz-productions.co

Sell your home. Support Dance Victoria.

Choose a DFH realtor below and mention Dance Victoria when you buy or sell your property. Ten percent of the realtor’s commission helps bring the World’s Best Dance to our community.

Maureen Vincent

Rosemary Tulett

maureenvincent68@gmail.com 250-656-0131

homes@rosemarytulett.com 250-477-7291

John Melvin

Dorothee Friese

john@johnmelvinproperties.ca 250-477-7291

dorothee@shaw.ca 250-477-7291

Terry Moore tlmoore@shaw.ca 250-477-7291

Peter Crichton crichton@islandnet.com 250-477-7291

DANCE VICTORIA Board of Directors

Staff

Dance Victoria Studios

President: Susan Howard Treasurer: Emily Zeng Directors: Stacey Horton, Heather Lejeune, Robert J. Millar, Andrew Newcombe, Colin Nicol, Kirsty Thomson

Executive Producer: Stephen White General Manager: Bernard Sauvé Operations Manager: Shireen McNeilage Marketing Manager: Tracy Smith Accounting: Julie Collins Production Manager: Holly Vivian Graphic Design: Rayola Creative Advertising Sales: Bonnie Light Advertising Events Manager: Pamela Sanderson - Hire a Somm

111 – 2750 Quadra St., Victoria, BC V8T 4E8 P: 250-595-1829 F: 250-590-7209 info@dancevictoria.com

*VP and Secretary are TBD.

Dance Victoria is supported by:

MEDIA PARTNER

VENUE SPONSOR

HOST HOTEL

Dance Victoria wishes to thank its many donors and volunteers.

Dance Victoria’s Chrystal Dance Fund and Endowment Fund are held at Victoria Foundation.

Dance Victoria is a proud member of the CanDance Network and the Greater Vancouver Alliance for Arts and Culture.