Scenic and Costume Design by Roberta Guidi di Bagno
Lighting Design by Randall G. Chiarelli
Associate Lighting Design by Ben Rawson
The performance of Coppélia, A Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.
COMPANY BALLET REPETITEURS
Angela Agresti, Rory Hohenstein, Eduardo Permuy
CHOREOGRAPHER-IN-RESIDENCE
Claudia Schreier
DEAN OF THE CENTRE FOR DANCE EDUCATION
Sharon Story
THE COMPANY
Santiago Bedoya, Severin Brotschul, Khulan Burenjargal, Georgie Grace Butler, Emily Carrico, Michael Caye, Catherine Conley, Larissa Dal’Santo, Brooke Gilliam, Jessica He, Gianna Horton-Sibble, Airi Igarashi, Darian Kane, Matoi Kawamoto, Sojung Lee, Jordan Leeper, Guilherme Maciel, Sergio Masero, Juliana Missano, Miguel Angel Montoya, Marius Morawski, Mayu Nakayama, Denys Nedak, Carraig New, Madison Penney, Sophie Poulain, Ángel Ramírez, Mikaela Santos, Anderson Souza, Paxton Speight, Emanuel Tavares, Munkhjin Ulziijargal, Kelsey Van Tine, Spencer Wetherington, Luiz Fernando Xavier, Rei Yamaguchi, Nicholas Yurkevich
ATLANTA BALLET 2
Claire Buchi, Daniel Gray, Sayaka Iwase, Camille Margaret Jackson, Stacey Johnson, Isabella Kessler, Jacob Lainchbury, Emily McAllister, Ashley McKoy, Avery Nelson, Leo O’Reilly Okuno, Dyhan Pierre, Luisa Pimenta, Ícaro Queiros, Gianni Salazar, Júlio Santos, Eliza Soto, Emanuel Talongo, Rachel Zinman
Atlanta Ballet 2 and Children’s Cast courtesy of Atlanta Ballet Centre for Dance Education
Scan QR Code to View Casting
Dorothy Moses Alexander - Atlanta Ballet Founder, 1929 - 1960
Robert Barnett - Artistic Director Emeritus, 1961 - 1994
John McFall – Artistic Director, 1994 - 2016
Are you facing Family Law issues? We know how stressful this can be and want YOU to start considering your needs, wants, hopes, dreams, and aspirations as important pieces to the puzzle.
Are you facing Family Law issues? We know how stressful this can be and want YOU to start considering your needs, wants, hopes, dreams, and aspirations as important pieces to the puzzle.
Are you facing Family Law issues? We know how stressful this can be and want YOU to start considering your needs, wants, hopes, dreams, and aspirations as important pieces to the puzzle.
We are committed to providing unparalleled legal service and concierge-level support to every client we serve. Give us a call today, we can help you calm the chaos and reach your goals.
We are committed to providing unparalleled legal service and concierge-level support to every client we serve. Give us a call today, we can help you calm the chaos and reach your goals.
We are committed to providing unparalleled legal service and concierge-level support to every client we serve. Give us a call today, we can help you calm the chaos and reach your goals.
PROGRAM NOTES
In a small provincial town lives an ingenious inventor, Dr. Coppélius, and his “daughter”, Coppélia, who often sits on her balcony, reading a book and watching the townsfolk below. Young and carefree, Frantz is the subject of all the town girls’ desires, most notably his betrothed, Swanilda, our heroine. One day, mistaking Coppélia’s silent gaze from atop the balcony for love, Frantz’s affection shifts to Coppélia. Blinded by desire, Frantz, and Swanilda, riled with suspicion and envy, separately decide to break into Dr. Coppélius’s laboratory to find and meet Coppélia.
Dr. Coppélius has been creating automatons—lifelike humanoid machines— and Coppélia is one of them, which he aims to embed with a life force. In a dramatic turn, Frantz is captured, and Swanilda becomes his last hope as Dr. Coppélius attempts to transfer Frantz’s life force into Coppélia. Rising to the occasion with cunning and ingenuity, the pair save themselves and each other. Struck by the fear of losing one another, Frantz and Swanilda confess their love and marry at the town’s Festival of the Bells, honoring the town’s six distinct bells rung for various occasions—work, prayer, war, peace, dawn, and golden hours—during the divertissement-filled Act III.
Based on short stories “The Sandman” and “The Doll” by 19th-century German writer, E. T. A. Hoffmann, Balanchine’s Coppélia maintains the spirit, plot, and structure of Marius Petipa’s prominent 1884 version in Acts I and II, but his unique Act III stands apart as a testament to his narrative skill and craft. Coppélia is additionally unique in Balanchine repertoire as a rare full-length narrative ballet. Rather than paring down the narrative, he enriched the story with detailed choreography, emotional depth, and cultural relevance. He introduced new male roles, invited students to perform alongside the company, and emphasized one specific aspect overlooked in the original ballet—war. Just months after the original ballet’s 1870 Paris premiere, Napoleon III declared war on Prussia, beginning the Franco-Prussian War. As a result, Coppélia became the last ballet of the French monarchy, and the dominance over ballet aesthetics shifted to Imperial Russia, marked by Petipa’s restaging of Coppélia in Saint Petersburg.
It was during this time of prominence in ballet aesthetics that Balanchine trained before defecting from the USSR during the Bolshevik Revolution and later emigrating to the United States, establishing the American ballet aesthetic. Through reimagining Act III to include reflections on themes of war, Balanchine honored the historical context behind ballet aesthetics, culture, and Coppélia’s place as the marker between the French and Russian eras of ballet. This is primarily demonstrated through the entrance of Valkyries during the divertissement of Act III. Mythical Norse fighters, dressed in armor, helmets, and feathers, Valkyries chose the fallen and guided them to the afterlife. They appear unexpectedly, evoking the chaos and confusion of wartime.
Coppélia is revered as an exemplar of the transition of ballet aesthetics from France to Russia, and Balanchine’s version further adds to the history of the piece, as his formation of the New York City Ballet and the School of American Ballet established a new American classical form, culturally influenced by past and present. His 1974 revival of Coppélia is nothing short of remarkable, not only preserving its timeless charm but also solidifying its place as one of the most treasured works in ballet’s classical canon for new audiences.
* Program notes by Margaux Nicolas
GENNADI NEDVIGIN (Artistic Director), in February 2016, was named Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age five. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet as a soloist before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While 19 seasons at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, the Japan Grand Prix and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
TOM WEST (Executive Director) assumed his role as Atlanta Ballet’s Executive Director in 2021. West’s career in arts management spans more than 25 years, including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts management from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading Farrell’s effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute (AFI) in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers. Since joining Atlanta Ballet in 2021, West’s focus has been on Atlanta Ballet’s long-term financial health and prestige, expanding engagement in the greater Atlanta region and breaking down historic barriers to full participation in the artform of Ballet for all.
SHARON STORY (Dean of the Centre for Dance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
Executive arts at the Center director from Kennedy Development, Symphony to fund Vice Costa ment championed film served the developing weathering Council States opportunities Atlanta history. he joined dance U.S., Nedvigin dancer. Bruhn Awards work career, and juried Ballet Grand Academy ensemble, next S H Atlanta years
Executive arts at Center director from Kennedy Development, Symphony to Vice Costa ment championed film served the developing weathering Council States opportunities Atlanta history. he joined dance U.S., Nedvigin dancer. Bruhn Awards work career, and juried Ballet Grand Academy ensemble, next S H Atlanta years
Stars Her 1996, Centre largest programs accreditation serves Dorothy from Story dance inspires
Stars Her 1996, Centre largest programs accreditation serves Dorothy from Story dance inspires
ANGELA AGRESTI (Company Repetiteur) grew up in Indianapolis, Indiana, where she began her training at the Jordon College Academy of Dance and later transferred to North Carolina School of the Arts (now UNCSA) for ballet where she worked closely with mentor Anna-Marie Holmes. After UNCSA, Agresti went on to dance with Cincinnati Ballet for one season before moving to Amsterdam to be in Het Nationale Ballet (Dutch National Ballet) where she danced for eight years. While at Het Nationale Ballet, she danced a mix of classical ballets, Balanchine works, Hans van Manen repertoire, contemporary and neoclassical works, along with new creations. Agresti has been featured in William Forsythe’s Second Detail, Alexei Ratmansky’s Don Quichot, Shen Wei’s Sacre du Printemps, and other notable ballets, such as The Dream, Paquita and Swan Lake During her time dancing in Amsterdam, Agresti gained experience as a choreographic assistant for multiple choreographers’ stage, film and festival works. She traveled to Riom, Switzerland, assisting works by Juanjo Arques and Peter Leung for the Origen Cultural Festival. She also worked with Peter Leung on the first ever virtual reality ballet entitled Nightfall. Since returning to the U.S. in 2018, Agresti has been teaching, coaching and rehearsing dancers at the collegiate, pre-professional and professional levels. She held positions at Butler University and Anderson University, and as a company ballet teacher and rehearsal assistant at Gregory Hancock Dance Theatre. In 2018, she assisted Annabelle Lopez Ochoa in the making of Tulips and Lobster for Kansas City Ballet and re-staged the work for the company the following season. She holds certifications in the ABT National Training Curriculum for levels PrePrimary through Level 5 and holds a Nonprofit Management Certificate from the University of California Irvine. Since being a repetiteur with Atlanta Ballet, she has worked with classical repertoire such as Don Quixote and La Sylphide as well as new works for Remi Wörtmeyer, Garrett Smith and Juliano Nunes. In the 23-24 season, Agresti had the privilege of staging Coco Chanel: The Life of a Fashion Icon for the North American premiere with Atlanta Ballet.
RORY HOHENSTEIN (Company Repetiteur) was born in Washington D.C., where he began dancing at the age of six. Hohenstein furthered his training from the age of 12 at the Kirov Academy of Ballet. At 17, he joined Le Jeune Ballet de France in Paris. In 2000, he joined San Francisco Ballet as a member of the corps, being promoted to soloist in 2006. In 2008, he moved to New York, joining Christopher Wheeldon’s company, Morphoses, performing in its home seasons at New York City Center and at Sadler’s Wells in London. He spent a season dancing with the Lar Lubovitch Dance Company before joining the Joffrey Ballet in 2011, where he continued to be a leading artist with the company through the 2018-19 season. Some personal highlights include dancing the roles of Romeo in Krzysztof Pastor’s Romeo and Juliet, Riff in Jerome Robbins’ West Side Story Suite, Fancy Free, Red Man in Lar Lubovitch’s Elemental Brubeck, The Roper in Agnes De Mille’s Rodeo, Levin in Yuri Possokhov’s Anna Karenina, Forgotten Land from Jiří Kylián and Wayne McGregor’s Eden/ Eden. As a Repetiteur Rory has staged several works from choreographers Helgi Tommason, Lar Lubovitch and Liam Scarlet. He has been a Company Repetiteur with Atlanta Ballet since 2019.
EDUARDO PERMUY (Company Repetiteur) was born in Cuba, where he began his training at the age of seven at Laura Alonso’s ballet school Pro-Danza, later joining the National Ballet School of Cuba and finishing at Miami City Ballet School under the tutelage of Nancy Raffa. At the age of 17, Permuy started his professional career with Miami City Ballet as an apprentice and he went on to enjoy a career of 18 years also dancing for American Ballet Theatre Studio Company, Joffrey Ballet, Ballet West, Smuin Contemporary Ballet, Cincinnati Ballet, and appearing as guest artist with a few others. During this time, his repertoire included most of the classics and a vast number of ballets from the Balanchine repertoire, ranging from corps to principal roles. He also had the opportunity to perform ballets from Gerald Arpino, Robert Joffrey, Jiří Kylián, Kurt Joss, John Cranko, Frederick Ashton, Kenneth MacMillan, Twyla Tharp, Helen Picket, Nicolo Fonte, Antony Tudor, Ulysses Dove, Michael Smuin, Val Caniparoli, Alberto Alonso, Benjamin Millepied, Leonide Massine, and Amy Seiwert. Throughout his career, Permuy feels blessed to have learned from figures like Nancy Raffa, Fernanado Bujones, Martha Bosh, Sir Anthony Dowell, Christopher Carr, Eddie Villella and Clinton Luckett. In 2021, he joined Cleveland Ballet as a director of repertoire, where he had the opportunity not only to perform ballet master duties but also was able to return to the stage as a character dancer, performing the roles of Don Quijote in the ballet by the same name and Drosselmeyer in The Nutcracker. This is Permuy’s third season with Atlanta Ballet.
CLAUDIA SCHREIER (Choreographer-in-Residence) has choreographed, directed, and produced for dance, opera, and film across the U.S. and internationally. She has created over 50 works for various companies and organizations, including San Francisco Ballet, Boston Ballet, Miami City Ballet, Dance Theatre of Harlem, Vail Dance Festival, Richmond Ballet, Guggenheim Works & Process, ABT Studio Company, Juilliard Opera, New York Choral Society, and New York Choreographic Institute. Her works for Atlanta Ballet include The Rite of Spring, Nighthawks, Carnivale, Fauna, Pleiades Dances, and First Impulse, named a 2019 Standout Performance by Pointe Magazine. Schreier and Atlanta Ballet partnered with the Cathedral Choir Society in 2022 to present Berlioz’s Roméo et Juliette at the Washington National Cathedral. In 2021, Schreier released Force of Habit, a film commissioned by Guggenheim Works & Process and co-presented by Atlanta Ballet. She has contributed to programs at the White House, Jazz at Lincoln Center, and the Kennedy Center, including the Kennedy Center Honors. Her work is the subject of two documentaries, most recently PBS’s Emmy Award-Winning “Dancing on the Shoulders of Giants” (Capital Region). Schreier presented her TEDx talk “Thinking On Your Feet,” at Columbia University in 2018. She is a recipient of the Princess Grace Award, Toulmin Fellowship at the Center for Ballet and the Arts at NYU, Lotos Prize, and Suzanne Farrell Dance Prize.
LARISSA DAL’SANTO Chapecó, Brazil
SEVERIN BROTSCHUL Glen Arbor, Michigan
EMILY CARRICO Lexington, Kentucky
MICHAEL CAYE Pittsburgh, Pennsylvania
CATHERINE CONLEY Chicago, Illinois
GEORGIE GRACE BUTLER Roswell, Georgia
BROOKE GILLIAM Boulder, Colorado
JESSICA HE Rancho Cucamonga, California
AIRI IGARASHI Gunma, Japan
DARIAN KANE Lincoln, California
MATOI KAWAMOTO Tokyo, Japan
JORDAN LEEPER Jamestown, New York
GUILHERME MACIEL São Paulo, Brazil
SERGIO MASERO Madrid, Spain
JULIANA MISSANO Lloyd Harbor, New York
MIGUEL ANGEL MONTOYA Cali, Colombia
KHULAN BURENJARGAL Ulaanbaatar, Mongolia
SANTIAGO BEDOYA Medellín, Colombia
GIANNA HORTON-SIBBLE Hornell, New York
SOJUNG LEE Chungju, South Korea
Atlanta Ballet photos by Kim Kenney.
LUIZ FERNANDO XAVIER São Paulo, Brazil
MARIUS MORAWSKI Łódź, Poland
MADISON PENNEY Mesa, Arizona
REI YAMAGUCHI Hokkaido, Japan
DENYS NEDAK Odessa, Ukraine
CARRAIG NEW Juneau, Alaska
ÁNGEL RAMÍREZ Trinidad, Cuba
MIKAELA SANTOS Manila, Philippines
ANDERSON SOUZA Santo Angelo, RS, Brazil
KELSEY VAN TINE Naples, Florida
SPENCER WETHERINGTON Bridgeton, New Jersey
MUNKHJIN ULZIIJARGAL Ulaanbaatar, Mongolia
MAYU NAKAYAMA Tochigi, Japan
SOPHIE POULAIN Halifax, Nova Scotia
PAXTON SPEIGHT York County, Virginia
EMANUEL TAVARES Fortaleza, Brazil
NICHOLAS YURKEVICH San Francisco, California
16 creative team
GEORGE BALANCHINE (Choreographer), transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20th century, and he co-founded two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia, in 1904, studied at the Imperial Ballet School in St. Petersburg, and danced with the Maryinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924, Balanchine left the newly formed Soviet Union for Europe, where he was invited by impresario Serge Diaghilev to join the Ballets Russes. For that company, Balanchine choreographed his first important ballets: Apollo [1928] and Prodigal Son [1929]. After Ballets Russes was dissolved following Diaghilev’s death in 1929, Balanchine spent his next few years on a variety of projects in Europe and then formed his own company, Les Ballets 1933, in Paris. There, he met American arts connoisseur Lincoln Kirstein, who persuaded him to come to the United States. In 1934, the pair founded the School of American Ballet (SAB), which remains in operation to this day, training students for companies around the world. Balanchine’s first ballet in the U.S., Serenade, set to music by Tchaikovsky, was created for SAB students and premiered on June 9, 1934, on the grounds of an estate in White Plains, NY. Balanchine and Kirstein founded several short-lived ballet companies before forming Ballet Society in 1946, which was renamed New York City Ballet in 1948. Balanchine served as the company’s ballet master from that year until his death in 1983, building it into one of the most important performing arts institutions in the world, and a cornerstone of the cultural life of New York City. He choreographed 425 works over the course of 60-plus years, and his musical choices ranged from Tchaikovsky [one of his favorite composers] to Stravinsky [his compatriot and friend] to Gershwin [who embodied the choreographer’s love of America]. Many of Balanchine’s works are considered masterpieces and are performed by ballet companies all over the world.
Biography courtesy of New York City Ballet. Balanchine is a trademark of the George Balanchine Trust.
ALEXANDRA DANILOVA (Choreographer) was born and trained in St. Petersburg Russia, where she was a classmate of George Balanchine at the St. Petersburg Imperial Ballet School. A major figure in twentieth-century dance, she performed in Diaghilev’s Ballets Russes and the Ballet Russe de Monte Carlo, as well as on Broadway and with many other companies as a guest artist. She taught for many years on the faculty at the School of American Ballet. Madame Danilova was a Kennedy Center Honoree in 1989.
STACY CADDELL (Repetiteur) a native of Norfolk, Virginia, embarked on her dance journey at the age of five. Her early training led her to the School of American Ballet, where her talent earned her an invitation to join the New York City Ballet (NYCB) under the guidance of George Balanchine. Rising through the ranks, she was promoted to Soloist and performed numerous Principal roles. Transitioning from NYCB, Caddell joined Twyla Tharp and Dancers, touring globally, including a collaboration with Mikhail Baryshnikov in Cutting Up. As her performing career concluded, she became Tharp’s assistant on ballets like Know By Heart at American Ballet Theater and Beethoven’s Seventh at NYCB. Caddell assumed the role of Dance Supervisor for Twyla Tharp’s Broadway production, Movin’ Out, and played a pivotal role in staging its first National Tour. Breaking new ground, Caddell staged the Broadway show Come Fly Away at the Royal Danish Ballet, marking the first collaboration between a ballet company and Broadway. As a repetiteur for Twyla Tharp’s repertory, she has staged ballets globally, working with prestigious companies like American Ballet Theatre, New York City Ballet, Royal Danish Ballet, and more. Caddell is also a repetiteur for the Balanchine Trust, staging iconic ballets such as Serenade, Symphony in C, and The Nutcracker, among others. Beyond staging, she has showcased
George Balanchine:
Photo by: Tanaquil Le Clercq.
Alexandra Danilova: Photo courtesy of The Kennedy Center.
her choreographic talent in various projects, including the opera Aida, the short film Central Park, and ballets like Twin Souls for the Joffrey Concert Group. Currently serving as a Guest Faculty member at Ballet Academy East and a teacher for The Joffrey Ballet School in New York City, Caddell continues to contribute significantly to the world of dance, leaving an indelible mark on both classical and contemporary stages.
JUDITH FUGATE (Repetiteur) is a former Principal Ballerina with the New York City Ballet (NYCB) and danced roles in virtually every ballet in the NYCB repertoire, counting among her partners Peter Martins, Mikhail Baryshnikov and Helgi Tomasson. During her career she toured extensively with groups led by renowned artists such as Mr. Baryshnikov, Cynthia Gregory, and Mr. Martins. She currently works as repetiteur for the George Balanchine Trust and the Jerome Robbins Rights Trust, staging these renowned choreographers’ works worldwide.
ROBERTA GUIDI DI BAGNO (Scenic and Costume Designer) worked extensively with most of the major opera houses and ballet companies around the world including Pacific Northwest Ballet, Teatro Scala Milan, Teatro Opera Roma, Queensland Ballet, English National Ballet, Zagreb National Theatre, Spoleto Festival Italy and USA, Semperoper Ballett Dresden, Aalto Ballet, Royal Danish Ballet, Teatro San Carlo Napoli, Maggio Musicale Firenze, Teatro Massimo Palermo, Filarmonico Verona, New National Theatre Tokyo, Dubai Opera House, Houston Ballet, Joffrey Ballet, San Francisco Ballet, Hong Kong Ballet, Shanghai Ballet, Staatsballet Berlin, and Prague National Ballet. Latest accomplishments include Ventriglia’s world premiere A Thousand Tales, (Dubai Opera House), Balanchine’s Theme and Variations (English National Ballet), and Hynd’s Coppélia (National Theatre in Prague). Future engagements include Houston Ballet’s Raymonda in 2025.
RANDALL G. CHIARELLI (Lighting Designer) (1949-2024) devoted his career to lighting for dance, much of it at Pacific Northwest Ballet, and also for American Ballet Theatre, Royal New Zealand Ballet, Atlanta Ballet, among others. His many collaborators included choreographers Donald Byrd, Mark Dendy, Ronald Hynd, Kent Stowell Susan Stroman, and Christopher Wheeldon. Chiarelli graduated from the University of Washington with a degree in painting and sculpture.
BEN RAWSON (Associate Lighting Designer) is an Atlanta-based Lighting Designer for Theatre, Opera, and Dance, member USA 829. Theatrical/ Opera design work can be seen at The Alliance Theatre (GA), Detroit Opera (MI), Florida Studio Theatre (FL), Glimmerglass Opera (NY), Utah Opera (UT), Atlanta Opera (GA), Theatrical Outfit (GA), Center Rep (CA), Aurora Theatre (GA), Actors Express (GA), and others. Dance design work includes choreographers Ana Maria Lucaciu, Troy Schumacher, Claudia Schreier, Remi Wörtmeyer, Bruce Wells, Danielle Agami, and Omar Roman De Jesus, as well as with Atlanta Ballet (GA), BalletCollective (NY), Terminus Modern Ballet Theatre (GA), Fly On A Wall (GA), and others. Rawson has also worked across the country as an Associate & Assistant Lighting Designer for San Diego Opera (CA), The Alliance Theatre (GA), Berkshire Theatre Festival (MA), Atlanta Opera (GA), Utah Opera (UT), Glimmerglass Festival (NY), Playmakers Repertory Company (NC), and Atlanta Ballet (GA). benrawsondesign.com
ARI PELTO (Conductor). After earning his Bachelor of Music in Violin Performance at Oberlin Conservatory, Pelto studied conducting at the Sibelius Academy in Helsinki, the Rubin Academy in Jerusalem and at Indiana University. At the age of 24 he was appointed Assistant Conductor at the Spoleto Festival, followed by his appointment Sarasota Symphony, then known as Florida West Coast Symphony, as Associate Conductor. He has conducted some of America’s leading symphonic orchestras, among them Detroit Symphony, San Diego Symphony, St Louis Symphony, Kansas City Symphony, Virginia Symphony, as well as opera orchestras in repertoire that includes Bartok, Boccherini, Britten, Debussy, Gluck, Korngold, Laitman, Gershwin, Haydn, Kodaly, Mozart, Mahler, Prokofiev, Puccini, Respighi, Schoenburg, Tchaikovsky, Verdi and Wagner. Appointed Music Director at Opera Colorado in 2015, Pelto has conducted acclaimed performances of La Traviata, Don Giovanni, Madama Butterfly, Aida, La Boheme, Falstaff, La Fanciulla del West, Le Nozze di Figaro and Lucia di Lammermoor, Il Barbiere di Siviglia, I Pagliacci, Otello, Carmen, Rigoletto, and Die Tote Stadt among others for the company to date, and contemporary titles include The Shining; the world-premiere of Lori Laitman’s long-awaited work, The Scarlet Letter (a recording of which was released on the Naxos label); and the world premiere of Gerald Cohen’s new opera, Steal a Pencil for Me, based on a true love story set in a concentration camp during WWII. In 2023, Maestro Pelto was appointed Principal Conductor and Artistic Advisor at Sacramento Philharmonic and Opera; symphonic concerts this season include Brahms’s Stormy Symphony, suite from Prokofiev’s Lieutenant Kijé, Rachmaninoff’s Piano Concerto No. 2 with Michelle Cann, Sibelius’ Symphony No. 3, and Mussorgsky’s Pictures at an Exhibition
For the full creative team behind this production, visit https://www.atlantaballet.com/performances/coppélia
board of trustees
Officers
Nancy Field, J.D., Chair
Nigel Ferguson, Vice Chair
Linda Morris, Treasurer
Jan Beaves, Secretary
Trustees
Elizabeth Adams
Emily C. Baker
Ginny Brewer
Chris Carlos
Lynn Cochran-Schroder
Lynda B. Courts
Cynthia Crain, Ed.D.
Vanessa Delmer
Lovely A. Dhillon, J.D.
Yelena Epova, CPA
Jacqueline Flake
Amy Gerome
Caroline B. Gottschalk
Matthew Hartnett
Mona Heyer
Joyce Houser, Ph.D.
Barbara S. Joiner
Kathleen Knous
Kristin Manion Taylor
Taylor Meyer, CFA
Gennadi Nedvigin*
Rachel Lee Phipps
Kristy Rachal
Katherine Scott
Scott Wagner
Tom West*
Cristel Williams
Advisory Council
David M. Barnett
Mark R. Bell Ph.D.
Dr. Meria Carstarphen
Harvey Coleman
Elaine E. Davis
Erroll B. Davis
Anne-Laure Desjonquères
F. Javier Diaz
Raoul “Ray” Donato
Jake Evans
Linda Nau Givens
Mark Goldman
Robert L. Green
Susan S. Kettering
Allegra Lawrence-Hardy
Allen Maines
Santiago Marquez
Juan Mejia
Allen W. Nelson
Eric Robbins
Arden Hess Rowland
Scot Safon
Rebecca Christian Smith
Anat Sultan-Dadon
Dov Wilker
Allen Yee
Honorary Board
Margaret Carton
David Crosland
Kenneth R. Hey
Wade Hooper
J. David Hopkins
Bill Huber, CPA
Michael Jones
Sloan Kennedy-Smith
Edward Krugman
Amanda Shailendra
Michelle Sullivan
Trustees Emeriti
Lynda B. Courts
Lavona S. Currie†
Karen Vereb
Patti Wallace†
Lifetime Board
Jane Dean
Carole Goldberg
Joseph Prendergast
Deen Day Sanders
Corps de Ballet Board
Jacqueline Flake, Chair
Nancy Flaherty, Vice-Chair
Jen Alewine, Secretary
Joanne Chesler Gross, Treasurer
Sharon Silvermintz, Immediate Past Chair
Sineet Berhane
Susan Currie
Kimberlyn Daniel
Jane Dean
Jessica DeHart
Christy Fiftal
Corrie Johnson
Lara Mitchelson
Amy Nelson
Melissa Nowak
Gailen Rosenberg
Arden Hess Rowland
Dottie Smith†
Marsha Taylor
Erica Thomas
Doug Weiss
Preston Wilson, Jr.
Mary Kathryn Winsett
Memoriam
ATLANTA BALLET ORCHESTRA
VIOLIN
Lisa Morrison Concertmaster
Sally Gardner-Wilson Assoc. Concertmaster
Linda Pinner Principal Second
Patti Gouvas
Alison James
Kathryn Koch
Mao Omura
Patrick Ryan
Angèle Sherwood-Lawless+
Elonia Varfi
Rafael Veytsblum
Ying Zhuo
VIOLA
Joli Wu Principal
Josiah Coe
Shadwa Mussad
CELLO
Charae Krueger Principal
Alana Bennett-Garcia
Alexis Lee
InYoung Park
CONTRABASS
Adam Bernstein Principal
FLUTE
Jeanne Carere Principal
Aaron Rib
OBOE
Alexandra Shatalova Prior Principal
Christina Gavin
CLARINET
Katherine White Principal
Greg Collins
BASSOON
Amy Pollard Principal
Dan Worley+
HORN
Jason Eklund Principal
Eric Hawkins
Amy Trotz Richard Williams+
TRUMPET
Kevin Lyons Principal
Greg Holland+
TROMBONE
William Mann Principal
Ryan Black
Mark Spradley
TUBA
Don Strand Principal
PERCUSSION
Mike Cebulski Principal
Karen Hunt
Jeff Kershner
TIMPANI
Scott Douglas Principal
HARP
Nella Rigell Principal + Leave of Absence
ANNUAL FUND DONORS
Atlanta Ballet gratefully acknowledges the following individuals whose generous annual contributions were received during the period of February 1, 2024 – February 1, 2025. If you find that we did not recognize you appropriately, we apologize. For corrections, please contact us at advancement@atlantaballet.com.
THE CHOREOGRAPHERS CIRCLE
Recognizes exceptional gifts of $10,000 and above
DIAMOND $100,000+
Anonymous (3)
Chris Carlos & Family
Estate of Daphne Moore Eitel
Katherine Scott
SAPPHIRE $50,000+
Kathleen & Kirk Knous
EMERALD $25,000+
Ms. Jan P. Beaves
Mrs. Lynn Cochran-Schroder & Mr. Bill Schroder
Elaine & Erroll Davis
The Elster Foundation
Carol & Ramon Tomé
PEARL $20,000+
Cynthia Crain, Ed. D. & Dwight Lee, Ph.D.
Barbara & Eric Joiner
Mr. William F. Snyder
OPAL $15,000+
Anonymous
Emily C. Baker & Christopher Bly
Nigel Ferguson
Bonnie & Terry Herron
Heather & Bill Preston
Yee Family Charitable Fund
AMETHYST $10,000+
Elizabeth & Howell Adams III
Anonymous
Ms. Nancy Field & Mr. Michael Schulder
Jacqueline Flake & David Dase
Caroline Bergman Gottschalk and Allen W. Nelson
Adrienne & Scott Hardesty
Kelin Foundation
Taylor & Brad Meyer
Kristen Manion Taylor & Jason Taylor
The Mortimer Family
Rogers Family Foundation
Pam & Paul Whitacre
Special thanks and deepest gratitude to the Atlanta Ballet Trustees for 100% participation in contributions to Atlanta Ballet’s Operating Reserve Fund, with leadership gifts from The Carlos Family Foundation, Mr. & Mrs. Richard W. Courts II, Nancy Field & Michael Schulder, and Katherine Scott.
GRAND JETÉ $7,500+
Robert J. Barnett
Nicholas Marrone
THE DANCERS CIRCLE
Recognizes generous gifts up to $10,000
Dr. Peter & Mrs. Beverly Thomas
TOUR JETÉ $5,000+
Catherine Binns
Lucy & Henry Bush, in memory of Lavona Currie, and in honor of Sharon Story
Robert Paul Dean & Robert Epstein
Mr. Richard Delay & Ms. Francine Dykes
Mr. Daniel E. Gaylord & Ms. Marilyn Altman
Joanne & Alex Gross
Matthew & Brittany Hartnett
Mr. Shea Meddin
Paul & Kimberly Meisel
Linda & Don Morris
Margaret Painter
Ginger Brill Pisik
Wade Rakes & Nicholas Miller
Silberman Family Fund, in honor of Ron Breakstone
Irma J. Turnipseed
Karen Vereb & Bud Blanton
Sonia P. Witkowski
Elizabeth B. Yntema
ASSEMBLÉ $2,500+
Anonymous
Diana & Miguel Arteche
Dr. Harold J. Brody & Mr. Donald E. Smith
Mr. & Mrs. Jerome M. Cooper
James Datka & Nora DePalma
Dr. Madalyn Davidoff
Steve, Susan & Grace Hauser
Kenneth & Colleen Hey
Laurie & John Hopkins
Allison & Jay Jowers
Dr. Leslie & Mrs. Marilyn Kelman, in honor of Darcy & Rachel Denneen
Vaughn Linder, in honor of Lynda & Richard Courts
Dr. Ellis L. Malone
Carole & Nelson Marchioli
Gino & Belinda Massafra
Denis Ng
Mr. & Mrs. Larry Pelletier
Mr. & Mrs. Robert Ratonyi
Debby & Baker Smith
Sharon Story, Julien & Kim Kenney
Scott and Jenny Wagner
Tom West and Erwin Godoy
Andrea Weyermann & Tim Goodwin
Ling Yang
GLISSADE $1,000+
Anonymous (3)
Robert & Terry Banta, in memory of Lavona Currie
Hope M. Barrett
Mr. & Mrs. Martin P. Bennett
Kaitlyn Bergeron
Xavier Bignon
Richard Bohrer
Peter & Dulce Boucher
Mr. & Mrs. Sean Bowen
Dr. and Mrs. James A. Brennan
Sara & Alex Brown
Mr. Michael E. Carroll and Mr. Paul Alberto
Rebecca Armor Campbell
Carolyn Champion
Nicole Clifton
David Cofrin and Christine Tryba-Cofrin
Harvey J. Coleman
John Condo
Dr. & Mrs. Lawrence W. Davis
Katie Deegan
Jennifer Dodd & Reggie Graham
Kevin & Demi Doyle
Mr. & Ms. Rolston A. Dyer
Lauren & Rick Elliott
Brad Foresythe
Dr. Spencer Gelernter & Sonya Kuropatwa
Dr. Marvin Goldstein
Margaret Graff
Rand Hagen, in honor of Martine Weber
Marius Hechter
Lisa & Forrest Hibbard
Mr. Douglas Hopkins
Mr. & Mrs. William C. Humphreys
Oren Johnson
Mrs. Peter G. Kessenich, Sr.†
Rita Kohse
Edward Krugman & Jill Pryor
Allegra Lawrence-Hardy & Timothy Hardy
Stacey Leebern, in honor of Ginny Brewer
Linda L. Lively & James E. Hugh III
Betts Love
Drs. Robert & Mary Jo Lund
Albert and Jeanie Marx
Mimi Maslia
Mr. & Mrs. Eugene F. Meany
Morgan Family Fund
Douglas & Dawn Mullins, in honor of Robert Barnett
Christine & Eric Nelson
Anthony & Judith Ragunas
Dr. Z. Pressley and Mr. Billy S. Rice
in memory of Mr. William C. Rice
Walter & Arden Rowland, in honor of Elliott Rowland
Scot Safon and Rebecca Leary Safon
James & J. Ann Sandy
Ashley & Drew Scott
Toreya Shea
Michelle & Steve Shlansky
Dr. & Mrs. Mark Silverstein
Matt Simon
Jasmine Spivey
Kalen Swanson
Mr. & Mrs. Perry Taylor
Johnny Thigpen & Clay Martin, in honor of Tricia Ekholm
Dr. Kirsten Travers-UyHam & Mr. John J. UyHam
Mrs. Julie Turner-Davis & Mr. John Davis
Eric & Chan Voiles
Betsy Wash
Alan & Marcia Watt
Manda Wilhite and Jeremy Shankel
Allen Yee
Mr. & Mrs. Jacob Young
RELEVÉ $500+
Anonymous (2)
Ms. Tracie Arnold
Leigh Ball
Patricia Barmeyer, in honor of Robert Barnett
Cynthia Brant
Dr. & Mrs. William Brinkman
Kerry Bryan
Kate & Scott Carmack
Lawrence M. Cohen
Charles & Elizabeth Cohn
Carol Comstock & Jim Davis
Cynthia & Mike Davison
Dr. Carlos del Rio & Jeannette Guarner
Lauren Jo & David Dixon
Ashleigh Dobrin, in loving memory of Mel Dobrin
Elaine Eaton
Tyler R. Edgarton
Tricia & Chris Ekholm
Kathryn & Patrick Gaul
Courtney Gleason
Christine A. Gilliam
Richard Goodjoin & Kelvin Davis
William Green & Antionette Earley
Francis & Marguerite Hallman
Virginia Hepner & Malcolm Barnes
Mr. J. David Hopkins
Jessica Irizarry & Russell Hammond
Dorothea & Robert Jeffrey
Jean Gatton Jones
Dr. Harvey P. Kaufman
Allan & Vaneesa Little
Jean & Robert McColl
Terri & Stephen Nagler
Miho & Gennadi Nedvigin
Donald & Helen O’Shea
Mrs. Debby Overstreet
Grace Pownall & Ron Harris
Dr. & Mrs. William M. Scaljon
Anne M. Spratlin
Shad Sterling
Teena Stern, in honor of Robert Barnett
Sherri Stevens
Mr. James A Swanson
Dr. Michael & Mrs. Francoise Szikman
Roberta Taylor & James Hill
The Kang Family
Katharine & Todd Tinkler
Aisha & James Walth
† In Memoriam
INSTITUTIONAL GIVING
Atlanta Ballet gratefully acknowledges the following corporations, foundations, and government agencies whose generous annual contributions were received during the period of February 1, 2024 – February 1, 2025.
$250,000+
The Coca-Cola Foundation
$150,000+
Hellen Ingram Plummer Charitable Foundation
$100,000+
The Home Depot Foundation
The Shubert Foundation
The Thalia & Michael C. Carlos Foundation
$75,000+
PNC
$50,000+
Georgia Council for the Arts
The Imlay Foundation, Inc.
Mark & Evelyn Trammell Foundation
The Molly Blank Fund of The Arthur M. Blank Family Foundation
The Zeist Foundation
$25,000+
City of Atlanta Mayor’s Office of Cultural Affairs
Cox Enterprises
Fulton County Arts & Culture
$20,000+
Cobb Travel & Tourism
The Ray M. & Mary Elizabeth Lee Foundation
Rockwell Foundation
$15,000+
Arrow Exterminators Google
$10,000+
Aprio Chick-fil-A
Georgia Power Foundation Peach State Health Plan Publix Super Markets Charities
The Roderick Seward, Flossie Radcliffe & Helen M. Galloway Foundation, in honor of Kathleen Knous
$500+
Akris
Sweet Tea Murals Theory
Atlanta Ballet is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also received support from its partner agency, the National Endowment for the Arts. Additional support is provided by the Fulton County Commission under the guidance of the Fulton County Arts Council and the City of Atlanta Mayor’s Office of Cultural Affairs.
THE DOROTHY ALEXANDER LEGACY SOCIETY
Individuals who have included Atlanta Ballet in their long-term estate plans through bequests and other deferred-giving arrangements.
Madeline & Howell Adams, Jr.
Ms. Jan P. Beaves
C.D. Belcher
Mrs. Lynn Cochran-Schroder
Cynthia Crain
Patty & Marc Dash
Melodi Ford
Brad Foresythe
Joyce Houser, Ph.D.
Mrs. Audrey B. Morgan
Mrs. Elizabeth Ann Morgan
John K. Palmisano & Stephen A. Williams, III
Katherine Scott
Elizabeth Morgan Spiegel
Marianne Stribling
ATLANTA BALLET
IS GRATEFUL TO THE FOLLOWING PARTNERS FOR THEIR SUPPORT
Canaan Marshall Designs
Cookerly PR
Corporate Sports Unlimited, Inc., The Official Health, Wellness, and Fitness Partner of Atlanta Ballet
Daniel Solberg, DSol Productions
ATLANTA BALLET IS GRATEFUL TO THE FOLLOWING PARTNERS FOR THEIR SUPPORT
Deloitte Consulting LLP
Doyle Law, LLC, Immigration Counsel
I Do Linens
Atlantic Capital, The Preferred Bank of Atlanta Ballet
JD French Media
Batdorf & Bronson Coffee Roasters, The O cial Co ee Provider of Atlanta Ballet
JJA Project Management
Corporate Sports Unlimited, Inc., The O cial Fitness Partner for Atlanta Ballet
Doyle Law, LLC, Immigration Counsel
Jones Day, Attorneys
Jones Day, Attorneys
Kaldi’s Coffee Roasting Co., The Official Coffee Provider of Atlanta Ballet
Kim Kenney Photography
Kim Kenney Photography
Publix Super Markets, The Preferred Supermarket of Atlanta Ballet
Frank A. Sinkoe, DPM, podiatric medicine
KO Photography
Kara Pepper, MD, internal medicine, Laurette Medical Group
More Than Me, LLC
Laura Gandy, MD, internal medicine, Laurette Medical Group
Nadine Kaslow, Ph.D, ABPP, Psychologist, Emory University School of Medicine
Publix Super Markets, The Preferred Supermarket of Atlanta Ballet
Bryn Chafin, LCSW, Brookwood Center for Psychotherapy
Brandon Nguyen, B-Right Atl Sports Massage
Republic National Distributing Company, The Official Liquor Provider of Atlanta Ballet
Dr. Cliff Willimon, MD, Orthopedic Surgeon, Children’s Healthcare of Atlanta
Dr. Dominic Carreira, MD, Orthopedic Surgeon, Peachtree Orthopedics
Shoccara S. Marcus Photography
Dr. Jason Bariteau, MD, Orthopedic Surgeon, Emory Healthcare
Smith & Howard, Audit Firm
Tori Williams Events
Dr. Ched Garten II, MD, Paragon Sports Medicine
Dr. Rayden Cody, MD, Peachtree Spine and Sports Physicians
Troutman Pepper
Mandy Blackmon, PT, DPT, OCS, physical therapy, Atlanta Dance Medicine
Emma Faulkner, PT, DPT, OCS, physical therapy, Atlanta Dance Medicine
Mark Nimmo, PT, DPT, physical therapy, BenchMark Physical Therapy
Ami Kirollos, PT, DPT, CSCS, physical therapy, One on One Physical Therapy
Susan Bush, PT, DPT, CMTPT, physical therapy, Atlanta Dance Medicine
Physical Therapy Services and medical coordination provided by Atlanta Dance Medicine, LLC Mandy Blackmon, PT, DPT, Emma Faulkner, PT, DPT, and Ann MacDougall, PT, DPT and their affiliates.
Kelly Criss, Director of Advancement, Leadership Gifts
Kimberly Jackson, Project Accountant/AP Manager
Francesca Frederick, Director of Advancement, Institutional Gifts
Natasha Harris, Director of Human Resources
MARKETING & PUBLIC RELATIONS
Dana Hylton Calabro, Director of Technology and Sales Operations
Tricia Ekholm, Chief Marketing O cer
Allison Kang, Director of Public Relations
PATRON SERVICES
Taylor Graves, Interim Graphic Designer
Stephen Hall, Patron Services & Group Sales Associate
Brian Wallenberg, Video Content Producer
Abby Brown, Patron Services Associate
Myredith Momongan, Associate Director of Group Sales
ADVANCEMENT
Toni C. Vacinek, Associate Director of Marketing Communications
Juliana Han Witt, Chief Advancement Officer
Brandon Brown, Senior Director of Individual Giving
Zoey Fleck, Social Media Manager/Graphic Designer
Susan Carter, Costume Construction Supervisor
Abigail Dupree-Polston, Patternmaker
Abby Parker, Company Shoe Manager/Wardrobe Supervisor
Briá Sanders, Costume Technician
CENTRE FOR DANCE EDUCATION
Katherine Savage, Costume Technician
Gennadi Nedvigin, Artistic Director
Maddie Simmons, Costume Technician
Sharon Story, Dean
CENTRE FOR DANCE EDUCATION
Kelly Tonina Cooper , Centre Administrative Director
Gennadi Nedvigin, Artistic Director
Sharon Story, Dean
Diane Caroll Sales, Community Partnerships Director
Serena Chu, Atlanta Ballet 2 Repetiteur
Kate Gaul, Buckhead Centre Principal
Diane Caroll, Community Partnerships Director
Nicole Adams, Virginia-Highland Centre Principal Ansilla Bearden, Satellite Manager Brittney Flowers, Centre Education Associate
Kelly Tonina Cooper, Centre Administrative Director
Faculty
Ansilla Bearden, Buckhead Centre Manager & Summer Programs Manager
Ashley Suta, Virginia-Highland Centre Manager
Rina Cook, Front Desk Manager
Amelia Murren, Adult Dance Coordinator
Nicole Adams, Alice Balhatchet, Ansilla Bearden, Shirley Bennett, Haley Brink, Darby Burgess, Serena Chu, Harmony Clair, Kelly Tonina Cooper, Kameron Davis, Nardja el-Shabazz, Kate Gaul, Ashley Gibson, Nell
Faculty
Heflin Goza, Jennifer Inman, LaToya Princess Jackson, Aaron James, Malik Jenkins, Caroline Kraehe, Sergio Masero, Loren McFalls, Arneshuia Nelson, Anna Penny, Chantia Robinson, Diane Caroll Sales, Roscoe Sales, Erin Smith, Jasmine Stevenson, Abigail Tan-Gamino, Grace Thompson, Jennifer Van Meter, Calla Vaughn, Natalya Vyashenko, Martine Weber
Accompanists
Marlena Abaza, Jemiah Alex, Shirley Bennett, Nadyne Bispo, Georgie Grace Butler, Diane Carroll, Serena Chu, Kelly Tonina Cooper, Kameron Davis, Mia Givens, Jennifer Inman, Madelin Jamison, Courtney Johnson, Sergio Masero, Amelia Murren, Han Myers, Denys Nedak, Arneshuia Nelson, Anna Penny, Chantia Robinson, Lay’la Rogers, Roscoe Sales, Anderson Souza, Caitlin Spencer, Jasmine Stevenson, Ashley Suta, Calla Vaughn, Natalya Vyashenko, Kirill Zaretskiy.
Elizabeth Grimes, Aleksandra Korshunova, Yulia Rice, Gretel Rodriguez, Kyla Zollitsch
Accompanists
Centre Education Associates
Ansleigh Brown, Individual Giving Manager
PATRON SERVICES
Kathryn Gutierrez, Special Events Manager
Jasmin Atkins, Special Events Coordinator
Lindsay Smith, Associate Director of Patron Services
Desiree Houston, Patron Services Manager
MARKETING & PUBLIC RELATIONS
Mallory Hazen , Patron Services Assistant
Tricia Ekholm, Chief Marketing Officer
Jasmine Martinez , Patron Services Assistant
Avery Jarrard, Stephanie Kosarin, Yulia Rice, Kyla Zollitsch
Imani Austin-Edwards, Shannon Geary, Flora Mangio, Hui-Wen Peng, Kaitlin Roemer, Jada Russell, Samantha Schuermann, Emma Seif
Centre Education Associates
Atlanta Ballet Boutique
Leslie Campbell Judge, General Manager
Imani Banks, Leilani Burks, Sophia Doctoroff, Sidney Hall, Carol March, Emily McAllister, Evan Rozier, Sophia Wang
Fiona Shaw, Senior Manager Communications
Josh Reynolds , Patron Services Assistant
Henry Woods, Manager of Marketing Strategy and Data Analysis
PRODUCTION
Alane Marco, Design Director
Amber Times, Social Media Manager
Dave Smith, Production Manager & Technical Director
Tumi Akin-Deko, Communications Coordinator
Sicily Palms, Company Manager
Nicole Walters, Production Stage Manager
PRODUCTION
Jane Kuipers, Assistant Stage Manager
Jonathan Fries, Technical Director
Kristin Kelley , Assistant Stage Manager
Nicole Walters, Production Stage Manager
COSTUMES
Colleen McGonegle, Costume Director
Abby Polston, Draper
Susan Carter, Costume Construction Supervisor
Abby Parker, Company Shoe Manager/Wardrobe Supervisor/Costume Technician
Chloe Gervais, Costume Technician
Maddie Simmons, Costume Technician
Ashleigh Dobrin, Finisher
Atlanta Ballet Boutique
Nardja el-Shabazz, Asst. General Manager, Atlanta Ballet Boutique
Kate Gaul, Boutique Merchandise Manager
Louise Gordon, Retail Operations Manager
Pamela Pelletier, Boutique Associate
Concessions: Concession stands are located in the center of the lobbies. All sales are cashless - credit or debit card only.
Emergency Information: In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.
Elevators: Elevators are located on each side of the lobbies on all levels.
Lost and found: Items are turned into Public Safety on the day of a performance. To inquire about a lost item, please call Public Safety at 770.916.2911.
Parking: Day of parking is available for $17 (credit or debit card only). There are 1,000 on-site parking spaces; 700 in a four-level deck and 300 more in a surface lot.
Restrooms: Located on house right and house left of all three lobbies. Family restrooms are located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.
Smoking: Smoking, vaping and e-cigarettes are prohibited inside the building.
Special assistance: Persons requiring access assistance are asked to contact the Ticketmaster at 800-982-2787 for advance arrangements. Audio clarification devices are available to our hearing-impaired guests at no charge. This is on a first-come, first-served basis. These are available at the Synovus Box Office. Wheelchairs are available upon request. All items require a form of identification to be held until the item is returned.
Prohibited items: The venue does not check items. Please visit https://www. cobbenergycentre.com/plan-your-visit/ prohibited-itemssecurity for more information.
ATLANTA BALLET REQUESTS
All patrons, regardless of age, must have a ticket to be admitted to the performance. Please be aware that not all events are suitable for children. Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.
Please turn off all cellphones before each performance.
Audio & video recording devices are not permitted.
Please unwrap all candies and cough drops before the perfomance.
Late arrivals will be seated in alternative seating until intermission when you can then access your seats.
We recommend arriving at least 45 minutes early so you have time to visit concessions and get to the seats you purchased. Doors to Cobb Energy Centre open 90 minutes prior to the performance.
