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BALANCHINE’S BALLETS RUSSES

OCT 25—NOV 2, 2019

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Contents 6

Sponsors

Ballet West

Board of Directors

About Ballet West

Balanchine’s Ballets Russes

From the Artistic Director

From the Executive Director

Casting

Ballet West Orchestra

Profiles

In Focus: A Song for Today

In Focus: A Nightingale Sings in SLC

Medical Providers and Ballet West Guild

Corporate, Foundation, and Government Support

Individual Donors

Artistic Impact Fund Donors and Academy Scholarship Fund Donors

Gifts Made In Memory and In Honor

Encore Society

Ballet West Staff

House Rules

principal artist adrian fry | photo by beau pearson

Publisher: Mills Publishing, Inc.; President: Dan Miller; Office Administrator: Cynthia Bell Snow; Art Director/Production Manager: Jackie Medina; Graphic Designers: Ken Magleby, Katie Steckler, Patrick Witmer; Advertising Representatives: Paula Bell, Dan Miller, Paul Nicholas, Chad Saunders; Administrative Assistant: Caleb Deane; Printing: Hudson Printing. Ballet West: Editor: Marissa Hodges; Layout Designer: Alex Moya. Playbill is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106, 801.467.9419. www.millspub.com. Inquiries concerning advertising should be directed to Mills Publishing, Inc. Copyright 2019. Ballet West, 52 West 200 South, Salt Lake City, Utah 84101. 801-869-6900. www.balletwest.‌org.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

Sponsors SEASON SPONSORS

LEAD SPONSOR

WE ARE THANKFUL FOR THE SUPPORT OF THE NATIONAL ENDOWMENT FOR THE ARTS

PRODUCTION SPONSORS

PERFORMANCE SPONSORS

BALLET WEST GUILD

JUDY AND LARRY BROWNSTEIN

BEAVER CREEK FOUNDATION PEGGY BERGMANN

GEORGE S. AND DOLORES DORÃ&#x2030; ECCLES FOUNDATION

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THE COMPANY Adam Sklute,

Michael Scolamiero

THE WILLAM CHRISTENSEN ARTISTIC DIRECTOR CHAIR SPONSORED BY PEGGY BERGMANN

THE ELIZABETH SOLOMON EXECUTIVE DIRECTOR CHAIR

ARTISTIC DIRECTOR

EXECUTIVE DIRECTOR

PRINCIPALS

Emily Adams • Adrian Fry • Katherine Lawrence • Chase O’Connell Beckanne Sisk • Rex Tilton • Arolyn Williams FIRST SOLOISTS

Katlyn Addison • Allison DeBona • Tyler Gum • Alexander MacFarlan Sayaka Ohtaki • Beau Pearson • Christopher Sellars SOLOISTS

Katie Critchlow • Hadriel Diniz • Jenna Rae Herrera Chelsea Keefer • Jordan Veit DEMI-SOLOISTS

Lindsay Bond • Trevor Naumann • Emily Neale Gabrielle Salvatto • Joshua Whitehead ARTISTS Dominic Ballard • Lillian Casscells • Kyle Davis • Jordan DePina* Olivia Gusti • Lucas Horns • David Huffmire • Joseph Lynch • Amber Miller Kazlyn Nielsen • Grace Anne Pierce • Jake Preece • Jordan Richardson Joshua Shutkind • Victoria Vassos • Kristina Weimer BALLET WEST II

Alladson Barreto • Jazz Khai Bynum • Beau Chesivoir • Isabella Corridon • Brigitte Edwards Nicole Fannéy • Robert Fowler • Connor Hammond • Noel Jensen • Roland Jones Ryan Lenkey • Vinicius Lima • Savannah Lyle • Ginabel Peterson • Claire Wilson • Severina Wong

ARTISTIC STAFF Jared Oaks

MUSIC DIRECTOR SPONSORED BY THE BARBARA BARRINGTON JONES FAMILY FOUNDATION AND KATHIE AND CHARLES HORMAN

Pamela Robinson Harris PRINCIPAL BALLET MASTER

Jane Victorine Wood BALLET MASTER

Bruce Caldwell

BALLET MASTER AND ARCHIVIST

David Heuvel DIRECTOR OF COSTUME PRODUCTION

Michael McCulloch

Calvin Kitten

PRODUCTION STAGE MANAGER

DIRECTOR OF BALLET WEST II AND ASSISTANT BALLET MASTER

Cristin Carlin ARTISTIC OPERATIONS MANAGER

Lindsey Gänder

INTERIM PRODUCTION MANAGER

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Board of Directors OFFICERS: John C. Miller * Chair Assistant General Manager Mark Miller Toyota Shari H. Quinney Vice Chair Scott M. Huntsman* Treasurer CEO Martin Garage Doors Jennifer HorneHuntsman, Esquire* Secretary Holland & Hart LLP Adam Sklute* Artistic Director Ballet West Michael Scolamiero* Executive Director Ballet West *Executive Committee Members

BOARD OF DIRECTORS AT LARGE: Stephany Alexander Author and CEO Woman Savers Inc. Michael D. Black Shareholder Parr Brown Gee & Loveless Kathryn C. Carter Community Volunteer

Cindy Hochhauser Community Volunteer Mary Leader Real Estate Associate Sotheby’s Realty Park City Rachele McCarthey Psychiatrist, University of Utah Department of Psychiatry Dan P. Miller* President Mills Publishing

Mark Robbins* Owner/Operator Ruth’s Chris Steak House Elizabeth Slager* Real Estate Agent Summit Sotheby’s International Realty Kristin Allred Stockham Community Volunteer Sarah Eccles Taylor Ballet Instructor

Anthony F. Mirabile Managing Director, Global Operations Goldman Sachs Jill Perelson Founder & CEO PrincePerelson & Associates Richard Potashner Senior Vice President, Financial Advisor Morgan Stanley Shauna Bamberger Priskos Community Volunteer Lee Quinney Senior Account Administrator Ghost Media Inc.

Beatryx Washington VP/General Counsel O.C. Tanner Julia Watkins Community Volunteer NATIONAL ADVISORY BOARD: Carol Christ Dr. Erik Erlingsson Barbara Levy Kipper Nicole Mouskondis David C. Pickett COMMUNITY LEADERSHIP BOARD: Carol Kroesche Carol Baer William Connelly Nile Eatmon Tami Hansen Julie Hopkins Marina Lawson Diana Major Spencer

Bryan Riggsbee CFO Myriad Genetics, Inc.

Stephanie Harpst Retired, Wells Fargo BALANCHINE’S BALLETS RUSSES 19–20 SEASON

About Ballet West From Balanchine to Bournonville, and Petipa to Tharp, Ballet West boasts a rich and varied repertoire, elegant and versatile artists, and an American style and legacy that is as dynamic, expansive, and unexpected as the Rocky Mountain region it represents. Ballet West has toured the world several times over, presenting the very best in American classical ballet.

william christensen

Ballet West was established in Salt Lake City in 1963. Willam F. Christensen was the company’s first artistic director, co-founding the company together with Utah’s “First Lady of the Arts,” Glenn Walker Wallace. In 1951, Christensen had established the first ballet department in an American university at The University of Utah, and with the tireless assistance of Mrs. Enid Cosgriff, this program grew into the Utah Civic Ballet, Ballet West’s first incarnation. But this was not the first ballet company Willam Christensen founded. Along with his brothers, Lew and Harold, Christensen made history by establishing the oldest ballet company in the western United States, the San Francisco Ballet. There, he went on to create the first full-length American productions of Coppélia, Swan Lake, and his evergreen production of The Nutcracker, which remains in Ballet West’s repertoire to this day. With 38 company members, 16 second company members, and a thriving academy that trains dancers of all ages, many of whom have gone on to professional careers with Ballet West and companies around the world, Ballet West ranks among the top professional ballet companies in America. Since its inception, the Company has had five artistic directors—its founder Willam Christensen, Bruce Marks, John Hart, Jonas Kage, and currently Adam Sklute, each of whom has helped to build Ballet West’s unique and expansive profile. For more than 50 years, Willam Christensen and Ballet West have developed and influenced innumerable great artists in the ballet world. Some notable figures include Bart Cook, Finis Jhung, Jay Jolley, Victoria Morgan, Tomm Ruud, Michael Smuin, Richard Tanner, and Kent Stowell. With an eclectic and ever expanding outlook, Ballet West is truly an American pioneer in the world of dance.

principal artist adrian fry | photo by beau pearson

BALANCHINE’S BALLETS RUSSES LE CHANT DU ROSSIGNOL (THE SONG OF THE NIGHTINGALE) 20-Minute Intermission

APOLLO 15-Minute Intermission

PRODIGAL SON Featuring the Ballet West Orchestra conducted by Music Director, Jared Oaks This performance lasts approximately 2 hours and 15 minutes with 2 intermissions.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

From the Artistic Director Welcome to Balanchine’s Ballets Russes, the first program of Ballet West’s 2019-20 season. Master choreographer George Balanchine arguably can be called the creator of the American style of neoclassical ballet, but he got his start as a choreographer under the tutelage of impresario Sergei Diaghilev, in Paris at Diaghilev’s famed and revolutionary Les Ballets Russes (pronounced “Lay Ballay Roos”). Diaghilev took the young and talented fledgling dancer/choreographer under his wing and educated Balanchine about art, music, and theater. Diaghilev also introduced him to influential artists of the day—Henri Matisse, André Beauchant, Georges Rouault, Pablo Picasso, and more—as well as leading composers such as Claude Debussy, Erik Satie, Maurice Ravel, Sergei Prokofiev, and Igor Stravinsky, the latter of whom became Balanchine’s closest musical collaborator for almost 50 years, until Stravinsky’s death in the early 1970’s. Working with Diaghilev was an unparalleled apprenticeship for Balanchine and, until his own passing in 1983, Balanchine always recognized Diaghilev and the Ballets Russes as the reason he became a great choreographer. In 2009, I presented Treasures of the Ballets Russes at Ballet West, to celebrate the 100th anniversary of the Ballets Russes and the company’s huge contribution to the world of dance. In 2010, I gave you Balanchine’s America, which explored the diverse and uniquely American style the choreographer developed. Now, on this program, to celebrate the 110th anniversary of Diaghilev’s company and Ballet West’s long history with works by Balanchine, we present three of Balanchine’s most influential early works: Le Chant du Rossignol (The Song of the Nightingale), Apollo, and Prodigal Son. These works are perfect examples of Diaghilev’s ethos; combining great art, great music, and great dance to create great theater. They show Balanchine’s development as a choreographer, they give us a window into the collaborative process of the artists involved, and they show us how different cultures were represented in Europe in the early 20th century. Ultimately, though, these ballets remain beautiful, important, and fascinating works of art that are vital and need to be kept alive. 16

George Balanchine was born in 1904, in pre-Soviet St. Petersburg, Russia, to Georgian and Russian parents. He was an accomplished pianist from an early age and went into the Imperial Ballet School in St. Petersburg at the age of nine. He was a professional dancer by age sixteen and began choreographing experimental works at this time as well. His daring new experiments, however, did not sit well with the newly formed Soviet Union and, in 1924, while on tour in Berlin with a Soviet ballet company, he and a group of friends fled to Paris, where Sergei Diaghilev hired them. At the young age of 20, Balanchine became a ballet master for the Ballets Russes and, at 21, he was commissioned by Diaghilev to create his first work for the company, the 1925 Le Chant du Rossignol. Based on the Hans Christian Andersen fairy tale about a simple nightingale who saves the life of a Chinese emperor, the work was originally an opera composed by Igor Stravinsky in 1914. Diaghilev was not satisfied with the opera, though, so in 1920, he commissioned Stravinsky to reduce the score to a one-act ballet with a libretto by writer Boris Kochno. He engaged the great modernist Henri Matisse to design the sets and costumes and asked his then resident choreographer Leonide Massine to choreograph the ballet. This version of Le Chant du Rossignol was again not successful, but Diaghilev loved Matisse’s designs and held onto them. In 1925, Diaghilev charged Balanchine with recreating the ballet. The result was a success and solidified Balanchine’s status with Diaghilev. This was also the first time that Balanchine collaborated with Stravinsky, and it was clear from the start that the two were in sync, both musically and artistically. Le Chant du Rossignol had a respectable run in 1925, but Balanchine would never revisit it again in his lifetime. Then, in 1999, Les Ballets de Monte-Carlo commissioned art and dance historians Millicent Hodson and Kenneth Archer to reconstruct the ballet in honor of its 75th anniversary. The result is this program’s meticulously researched and produced version of Balanchine’s lost Le Chant du Rossignol. It is interesting to note that Balanchine inherited Le Chant du Rossignol, and to consider that he must have felt quite restricted in its creation, as the ballet was his first major commission, at only 21 years old, but he had had no part in creating its libretto, designs, or score. Nevertheless, guided by Diaghilev, Kochno, Matisse, and Stravinsky, Balanchine delivered a grand pageant of “Chinoiserie,” an aesthetic, popular at the time, characterized by a European interpretation of Chinese culture. And, while much of the dancing itself reflects the early experimental Soviet style that Balanchine had been working in, one can also see the dawn of many of Balanchine’s future signature stylistic details. Movements such as walking on the heels, angular arm movements, and the flexing of hands, even shuffling, would all make their way into Balanchine’s work throughout his lifetime. It is also interesting to reflect upon how the fairy tale, written by a Danish author in 1843, and the ballet, created in 1925 by a team of Russian and French artists, present a story based in ancient China. Matisse researched every detail of his costume and set designs to represent ancient China as accurately as possible. One can hear the beginnings of the twelve-tone system, a method of musical composition influential amongst 20th-century composers, in Stravinsky’s score; this system BALANCHINE’S BALLETS RUSSES 19–20 SEASON

From the Artistic Director

(Continued from page 17)

was born out of the shí-èr-lǜ, a chromatic scale used in ancient Chinese music. For the choreography, Balanchine attempted as many accurate and historic cultural representations as possible, including that the Emperor never touches the earth and that the entire court prostrates themselves in front of him. Fascinating details, such as the nefarious character of the Japanese Maestro, who presents the Emperor with a mechanical nightingale, give a glimpse of the political tensions between China and Japan in the 19th through mid-20th centuries. The figure of Death, who visits the Emperor, is unexpectedly presented as a Tibetan deity—perhaps Vajrayoginī, a transformative deity who turns passion and ego into enlightenment. Le Chant du Rossignol was researched and reconstructed meticulously by Millicent Hodson and Kenneth Archer, two dance and art historians who specialize in bringing back “lost” historical works of the early 20th century - no easy feat. While Stravinsky’s score remained intact, Matisse’s costume designs had to be reconstructed from photographs, renderings, and some actual pieces from the original ballet that were still intact enough to reproduce accurately. The choreography remained the biggest challenge, since there was no notation system used to catalogue the steps. This is where I admire Millicent Hodson’s ingenuity. By using photographs to determine tableaux and moments in the ballet, as well as countless interviews with dancers and people who were in, worked on, or saw the original 1925 production, Millicent was able to identify many of the actual steps. In many instances, though, she still needed to create links between moments using her own logic and instincts. Can we be sure everything we see now is the actual Balanchine choreography? Perhaps not, but we do know it is the closest that we will ever get. In Balanchine’s 1928 Apollo, originally entitled Apollon Musagete (or, in English, Apollo, Leader of the Muses), we see the now 24-year-old choreographer coming into his own. This is thanks, in no small part, to Stravinsky’s clean, almost Mozartlike score, which Balanchine, in turn, reacted to with his own clear approach, soon to be known as his “neoclassical” style. (Continued on page 42) Since 2007, Adam Sklute has expanded Ballet West’s outlook, repertoire, and visibility with exciting Company and world premieres, increased touring, heightened public exposure, and greater focus on the Ballet West Academy. He began his career with The Joffrey Ballet, rising through the ranks from dancer to Associate Director. His stewardship of Ballet West has been marked by both financial growth and elevated artistry, and was the subject of The CW Network’s docu-drama, Breaking Pointe, which aired for two seasons. From September 2016 to October 2017, Sklute took on the dual position of CEO and Artistic Director overseeing both administrative and artistic operations of Ballet West. An internationally sought after teacher and adjudicator, Sklute has received numerous awards, including Utah’s Enlightened 50 (2014), The Bronze Minuteman Award for Outstanding Service to Utah and The Nation (2015), and most recently Utah Diversity Connection’s Business Award for outstanding commitment to diversity initiatives.

From the Executive Director Welcome to the opening program for Ballet West’s 56th season! This year, I am looking forward to thrilling premieres, nostalgic anniversaries, and some of the most extensive touring we have done in a decade. Our dancers will grace Los Angeles, New York, Alaska, Texas, Minnesota, and many other locations. Last month, The New York Times and Los Angeles Times both elevated Ballet West to their top 10 entertainment picks for the weekend. Not for the same performance, mind you. The company was presented at the Laguna Dance Festival in California, and at the Works and Process series at New York’s Guggenheim Museum. Quite a feat! Reviews from coast to coast were, quite literally, spectacular! Touring and presenting ballet is difficult and expensive, but an important part of maintaining our national profile. By exporting our artistry, Ballet West shows the world the sophistication and talent that Utah incubates. Not only is our company acting as a cultural ambassador, we are helping to import economic growth--gently luring businesses to explore a state that I have grown to adore and love. At the Guggenheim, for instance, our partners at Visit Salt Lake hosted business owners and a dozen media outlets. Utah is often misunderstood in other parts of the country and the world. However, my hope is that through our storytelling and presentation of acclaimed artistry, we show the grandeur and grace of Utah and invite the world to our home. That is the power of art bringing people together. Sincerely,

Michael Scolamiero Michael Scolamiero joined Ballet West in 2017 after an extensive international search led by Michael Kaiser, President Emeritus of the John F. Kennedy Center for the Performing Arts. Mr. Scolamiero previously served as Executive Director of Miami City Ballet for three years, during which time the organization achieved a significant reduction in debt, as well as robust growth in ticket revenue, contributions, and touring income. Prior to Miami City Ballet, Mr. Scolamiero was Pennsylvania Ballet’s Executive Director for 17 years, the longest tenure in the Company’s history and among the longest of any leader of a major ballet company. During his tenure, Mr. Scolamiero led the organization’s first capital campaign that raised $11.9 million (against a $10 million goal) to build an endowment and fund repertoire expansion. At Ballet West, Mr. Scolamiero is set to implement a newly completed strategic plan and excited to guide a growing and robust Company.

CASTING LE CHANT DU ROSSIGNOL

(The Song of the Nightingale) © The George Balanchine Trust Ballet in one act after Hans Christian Andersen Reconstruction & Staging: Millicent Hodson Music: Igor Stravinsky, Le Chant du Rossignol* Décor and Costumes: Henri Matisse Reconstruction & Supervision: Kenneth Archer Lighting: Jim French

CAST FOR 10/25, 10/31, 11/2 MAT The Nightingale: Jenna Rae Herrera The Emperor: Christopher Sellars Death: Allison DeBona Mechanical Nightingale: Tyler Gum Japanese Maestro: Rex Tilton Emperor’s Assistants: David Huffmire, Joshua Whitehead Court Ladies: Katlyn Addison, Lindsay Bond, Lillian Casscells, Katie Critchlow, Jordan DePina, Nicole Fannéy, Olivia Gusti, Chelsea Keefer, Amber Miller, Emily Neale, Kazlyn Nielsen, Sayaka Ohtaki, Grace Anne Pierce, Jordan Richardson, Victoria Vassos, Kristina Weimer Warriors: Beau Chesivoir, Kyle Davis, Hadriel Diniz, Noel Jensen, Alexander MacFarlan, Jordan Veit Chamberlains: Dominic Ballard, Joseph Lynch, Trevor Naumann, Jake Preece Mandarins: Alladson Barreto, Robert Fowler, Connor Hammond, Roland Jones, Ryan Lenkey, Vinicius Lima

CASTING CAST FOR 10/26, 11/2 EVE The Nightingale: Sayaka Ohtaki The Emperor: Christopher Sellars Death: Katlyn Addison Mechanical Nightingale: Tyler Gum Japanese Maestro: Rex Tilton Emperor’s Assistants: David Huffmire, Joshua Whitehead Court Ladies: Lindsay Bond, Lillian Casscells, Katie Critchlow, Allison DeBona, Jordan DePina, Nicole Fannéy, Olivia Gusti, Jenna Rae Herrera, Chelsea Keefer, Amber Miller, Emily Neale, Kazlyn Nielsen, Grace Anne Pierce, Jordan Richardson, Victoria Vassos, Kristina Weimer Warriors: Beau Chesivoir, Kyle Davis, Hadriel Diniz, Noel Jensen, Alexander MacFarlan, Jordan Veit Chamberlains: Dominic Ballard, Joseph Lynch, Trevor Naumann, Jake Preece Mandarins: Alladson Barreto, Robert Fowler, Connor Hammond, Roland Jones, Ryan Lenkey, Vinicius Lima Costumes and set courtesy of: LES BALLETS DE MONTE-CARLO Under the Presidency of H.R.H. the Princess of Hanover Jean-Christophe Maillot, Choreographer-Director This performance of Le Chant du Rossignol, a Balanchine Ballet®, is presented by arrangement with The George Balanchine Trust. This reconstruction has been made possible, in part, with the assistance of The George Balanchine Foundation’s Archive of Lost Choreography project, “Alicia Markova Recreating Excerpts from ‘Le Chant du Rossignol’ © 1996.”

Consulting by Phil Chan, Co-Founder of Final Bow for Yellowface. World Premiere: June 17, 1925, Diaghilev’s Ballets Russes, Théâtre Gaîeté Lyrique, Paris Reconstruction Premiere: November 16, 1999, Les Ballets de Monte-Carlo, Holland Dance Festival, The Hague Ballet West Premiere: October 25, 2019, Janet Quinney Lawson Capitol Theatre, Salt Lake City, Utah 20-MINUTE INTERMISSION

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

CASTING APOLLO

Choreography: George Balanchine © The George Balanchine Trust Music: Igor Stravinsky, Apollon musagète*

Staging: Colleen Neary Costumes: Karinska Lighting: Jim French

CAST FOR 10/25, 10/31, 11/2 MAT Leto: Olivia Gusti Hand Maidens: Kazlyn Nielsen, Jordan Richardson Apollo: Adrian Fry Calliope: Katie Critchlow Polyhymnia: Beckanne Sisk Terpsichore: Sayaka Ohtaki

CAST FOR 10/26, 11/2 EVE Leto: Olivia Gusti Hand Maidens: Kazlyn Nielsen, Jordan Richardson Apollo: Chase O’Connell Calliope: Emily Neale Polyhymnia: Chelsea Keefer Terpsichore: Beckanne Sisk *By arrangement with Boosey and Hawkes, Inc., publisher and copyright owner. This performance of Apollo, 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 by the trust.

World Premiere: June 12, 1928, Diaghilev’s Ballets Russes, Théâtre Sarah Bernhardt, Paris Ballet West Premiere: October 25, 2019, Janet Quinney Lawson Capitol Theatre, Salt Lake City, Utah 15-MINUTE INTERMISSION

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CASTING PRODIGAL SON Choreography: George Balanchine © The George Balanchine Trust Music: Sergei Prokofiev, Le Fils Prodigue, Op. 46* Staging: Colleen Neary Sets and Costumes: Esteban Francés from sketches by Georges Rouault Lighting: Jim French

CAST FOR 10/25, 10/31, 11/2 MAT The Prodigal Son: Hadriel Diniz The Siren: Katlyn Addison The Father: Dominic Ballard The Friends: Alexander MacFarlan, Jordan Veit The Sisters: Lillian Casscells, Victoria Vassos Drinking Companions: Beau Chesivoir, Robert Fowler, Noel Jensen, Ryan Lenkey, Vinicius Lima, Joseph Lynch, Trevor Naumann, Jake Preece, Joshua Whitehead

CAST FOR 10/26, 11/2 EVE The Prodigal Son: Christopher Sellars The Siren: Allison DeBona The Father: Trevor Naumann The Friends: Kyle Davis, David Huffmire The Sisters: Lillian Casscells, Victoria Vassos Drinking Companions: Beau Chesivoir, Robert Fowler, Connor Hammond, Noel Jensen, Ryan Lenkey, Vinicius Lima, Joseph Lynch, Jake Preece, Joshua Whitehead *By arrangement with Boosey and Hawkes, Inc., publisher and copyright owner. Scenery and costumes courtesy of PACIFIC NORTHWEST BALLET This performance of Prodigal Son, 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 by the trust.

World Premiere: May 21, 1929, Diaghilev’s Ballets Russes, Théâtre Sarah-Bernhardt, Paris Ballet West Premiere: March 27, 2009, Capitol Theatre, Salt Lake City, Utah 26

WATCH ONLINE ANYTIME kued.org/marrinereccles

Ballet West Orchestra Jared Oaks MUSIC DIRECTOR

Ken Hodges, ORCHESTRA PERSONNEL MANAGER

Don Basinger ORCHESTRA MANAGER EMERITUS

1ST VIOLIN Aubrey Woods Concertmaster

BASS Matthew Shumway Principal

TRUMPET Kyra Sovronsky Principal

Emily Day-Shumway Associate Concertmaster

Lola Plumb Elizabeth Lambson

Sara Marchetti Lisa Verzella

FLUTE/PICCOLO Alison Olsen Principal

TROMBONE Will Kimball Principal

Rebecca Chapman Sally Humphreys

Steven Hunter Neil Hendriksen

2ND VIOLIN Krista Utrilla Principal

OBOE Susan Swidnicki Principal

TUBA Michael Mccawley Principal

Kristiana Henderson Associate Principal

Karen Hastings

David Price Rachel Karr Ann Cox Rachel Christensen

ENGLISH HORN Justin Torres

TIMPANI Ken Hodges Principal

CLARINET Erin Voellinger Principal

PERCUSSION Heath Wolf Principal

David Feller

Douglas Wolf Stephen Hughes

Nathan Mueller Kathryn Langr Peggy Wheelwright Marcel Bowman Amanda Kofoed Katherine Kunz

VIOLA Kathleen Bradford Acting Principal Candace Wagner Acting Associate Principal

BASS CLARINET Henry Caceres

Sunny Johnson Jacob Davis Andrea Ashdown

BASSOON Brian Hicks Principal

CELLO Cassie Olson Acting Principal

Christopher Egbert

Robin Dunn Lauren Posey M onika RosboroughBowman Lauren Miller

CONTRA BASSOON Mollie Shutt HORN Steve Park Acting Principal Anita Miller Laurence Lowe Chris Castellanos Laura Huggard

HARP Janet Peterson Principal Tamara Oswald CELESTA Nicholas Maughan PIANO Vedrana Subotic Principal

The Ballet West Orchestra is underwritten by the George S. and Dolores DorÃ© Eccles Foundation.

Principal Artists

EMILY ADAMS

ADRIAN FRY

SPONSORED BY PAUL & CHERYL HUNTSMAN Ballet West II 2005, Artist 2007, Demi-Soloist 2011, Soloist 2013, Principal Artist 2015

SPONSORED BY JOHN AND MARCIA PRICE FAMILY FOUNDATION Artist 2010, Soloist 2012, First Soloist 2014, Principal Artist 2017

KATHERINE LAWRENCE

CHASE Oâ&#x20AC;&#x2122;CONNELL

SPONSORED BY VILIJA AVIZONIS & GREG MCCOMAS Artist 2004, Demi-Soloist 2005, Soloist 2007, Principal Artist 2011

SPONSORED BY THE JANET QUINNEY LAWSON FOUNDATION Ballet West II 2012, Artist 2013, Demi-Soloist 2014, Soloist 2015, Principal Artist 2016

Newtown, Pennsylvania

Fairfield, Connecticut

Omaha, Nebraska

Fredericksburg, Virginia

dancer pages

Principal Artists

BECKANNE SISK

REX TILTON

SPONSORED BY JIM & KRISTA SORENSON Ballet West II 2010, Artist 2011, Demi-Soloist 2012, Soloist 2013, Principal Artist 2015

SPONSORED BY ERIN & BRYAN RIGGSBEE

Longview, Texas

San Marcos, California

Artist 2008, First Soloist 2013, Principal Artist 2014

AROLYN WILLIAMS

Rowe, Massachusetts SPONSORED BY LIZ & JONATHAN SLAGER Ballet West II 2004, Artist 2006, Demi-Soloist 2010, Soloist 2011, Principal Artist 2013

dancer pages

First Soloists

KATLYN ADDISON

ALLISON DEBONA

Pittsburgh, Pennsylvania

TYLER GUM

Ontario, Canada

SPONSORED BY PEGGY BERGMANN Artist 2011, Demi-Soloist 2014, Soloist 2016, First Soloist 2018

SPONSORED BY JOHN & KRISTI CUMMING Artist 2007, Demi-Soloist 2011, Soloist 2013, First Soloist 2015

SPONSORED BY JOHN C. & ANDREA MILLER Ballet West II 2009, Artist 2010, Demi-Soloist 2014, Soloist 2016, First Soloist 2018

ALEXANDER MACFARLAN

SAYAKA OHTAKI

BEAU PEARSON

SPONSORED BY THEODORE SCHMIDT Ballet West II 2007, Artist 2009, Demi-Soloist 2014, Soloist 2016, First Soloist 2019

SPONSORED BY PAUL & CHERYL HUNTSMAN Demi-Soloist 2010, Soloist 2013, First Soloist 2015

Artist 2007, Demi-Soloist 2010, Soloist 2011, First Soloist 2013

Nashville, Tennessee

Tokyo, Japan

CHRISTOPHER SELLARS

Huntington Beach, California SPONSORED BY JEANNE POTUCEK Ballet West II 2005, Artist 2006, Demi-Soloist 2008, Soloist 2010, First Soloist 2013

dancer pages

Calhan, Colorado

San Francisco, California

Soloists

KATIE CRITCHLOW

HADRIEL DINIZ

SPONSORED BY THOMAS & MARY MCCARTHEY Artist 2006, Demi-Soloist 2012, Soloist 2016

SPONSORED BY EMMA ECCLES JONES FOUNDATION Artist 2015, Demi-Soloist 2018, Soloist 2019

JENNA RAE HERRERA

CHELSEA KEEFER

SPONSORED BY BEANO SOLOMON Ballet West II 2007, Artist 2010, Demi-Soloist 2015, Soloist 2016

SPONSORED BY JUDY & LARRY BROWNSTEIN Ballet West Academy/University of Utah Trainee 2010, Artist 2014, Demi-Soloist 2017, Soloist 2018

Cardiff, California

Ontario, California

Minas Gerais, Brazil

Huntsville, Utah

JORDAN VEIT

Seattle, Washington

dancer pages

SPONSORED BY THEODORE SCHMIDT Ballet West II 2012, Artist 2013, Demi-Soloist 2016, Soloist 2018

Demi-Soloists

LINDSAY BOND

TREVOR NAUMANN

Modesto, California

New York, New York

SPONSORED BY THE JOHN D. & VERA E. ECCLES FAMILY FOUNDATION AND SARAH ECCLES TAYLOR & GARY TAYLOR Ballet West II 2008, Artist 2009, Demi-Soloist 2013

Ballet West II 2009, Artist 2011, Demi-Soloist 2016

EMILY NEALE

GABRIELLE SALVATTO

SPONSORED BY JUDY BRADY & DREW BROWNING Ballet West Academy Trainee 2015, Ballet West II 2016, Artist 2016, Demi-Soloist 2018

Artist 2014, Demi-Soloist 2017

Acton, Massachusetts

Bronx, New York

JOSHUA WHITEHEAD Chesapeake, Virginia

SPONSORED BY SHARI & DAVID QUINNEY Ballet West Academy Trainee 2009, Ballet West II 2010, Artist 2012, Demi-Soloist 2016

dancer pages

Artists

DOMINIC BALLARD

LILLIAN CASSCELLS

KYLE DAVIS

SPONSORED BY KENT & MARTHA DIFIORE Artist 2017

Artist 2017

Ballet West II 2015, Artist 2017

JORDAN DEPINA

OLIVIA GUSTI

LUCAS HORNS

Ballet West Academy Trainee 2016, Ballet West II 2017, Supplemental Artist 2019

Ballet West Academy Trainee 2014, Ballet West II 2015, Artist 2016

SPONSORED BY THE FREDERICK QUINNEY LAWSON FOUNDATION Ballet West Academy Trainee 2012, Ballet West II 2013, Artist 2015

DAVID HUFFMIRE

JOSEPH LYNCH

AMBER MILLER

Ballet West Academy Trainee 2014, Ballet West II 2016, Artist 2018

Ballet West II 2017, Artist 2019

Albury, NSW, Australia

Seal Beach, California

Reno, Nevada

Washington, D.C.

Tampa, Florida

Cumberland, Rhode Island

dancer pages

Chicago, Illinois

Salt Lake City, Utah

Prosper, Texas Artist 2016

Artists

KAZLYN NIELSEN

GRACE ANNE PIERCE

JAKE PREECE

Ballet West II 2012, Artist 2014

Artist 2019

Ballet West II 2016, Artist 2019

JORDAN RICHARDSON

JOSHUA SHUTKIND

VICTORIA VASSOS

Artist 2011

Ballet West II 2015, Artist 2016

Ballet West Academy Trainee 2016, Ballet West II 2017, Artist 2019

Spanish Fork, Utah

Boulder, Colorado

New York, New York

Vancouver, Canada

Arbedo, Switzerland

KRISTINA WEIMER

Princeton, New Jersey Ballet West II 2015, Artist 2017

dancer pages

Ballet West II

ALLADSON BARRETO

JAZZ KHAI BYNUM

BEAU CHESIVOIR

ISABELLA CORRIDON

Ballet West II 2019

Ballet West Academy Trainee 2018, Ballet West II 2019

Ballet West II 2018

Ballet West II 2019

BRIGITTE EDWARDS

NICOLE FANNร Y

ROBERT FOWLER

CONNOR HAMMOND

Ballet West Academy Trainee 2016, Ballet West II 2018

Ballet West II 2018

Ballet West 2019

NOEL JENSEN

ROLAND JONES

RYAN LENKEY

VINICIUS LIMA

Ballet West Academy Trainee 2016, Ballet West II 2017

Ballet West Academy Trainee 2018, Ballet West II 2019

Ballet West Academy Trainee 2017, Ballet West II 2019

Ballet West Academy Trainee 2016, Ballet West II 2018

SAVANNAH LYLE

GINABEL PETERSON

CLAIRE WILSON

SEVERINA WONG

Ballet West Academy Trainee 2017, Ballet West II 2019

Ballet West II 2018

Natal, Brazil

San Diego, California

Carlsbad, California

Payson, Utah

Ballet West Academy Trainee 2016, Ballet West II 2018

Germantown, Maryland

Cary, North Carolina

Poolesville, Maryland

Philadelphia, Pennsylvania

Washington, D.C.

Kennewick, Washington

Wheeling, West Virginia

Longview, Texas

dancer pages

Ballet West II 2019

Westport, Connecticut

Coos Bay, Oregon

Vitรณria, Brazil

West Hills, California

Profiles GEORGE BALANCHINE

Choreographer

George Balanchine is regarded as one of the foremost contemporary choreographers in the world of ballet. He came to America in 1933 and established the School of American Ballet in 1934. In 1948, Balanchine established the New York City Ballet and presented its first program, which consisted of Concerto Barocco, Orpheus, and Symphony in C. Balanchine served as ballet master for the New York City Ballet from 1948 until his death in 1983, choreographing the majority of the productions the company has introduced since its inception. An authoritative catalogue lists 425 works created by Balanchine in his lifetime. Balanchine’s style has been described as neoclassical. A gifted musician himself, his response to Romantic Classicism was to deemphasize the plot in his ballets, preferring to let “dance and music be the star of the show.” Nevertheless, tantalizing hints of a story color his ballets such as Apollo, Harlequinade, Liebeslieder Walzer, and La Sonnambula. The New York City Ballet and School of American Ballet remain dedicated to the preservation of Balanchine’s ideals.

MILLICENT HODSON

Reconstructor and Stager of 1925 Le Chant du Rossignol choreography

KENNETH ARCHER

Reconstructor and Supervisor of Matisse Le Chant du Rossignol designs Millicent Hodson (choreographer, dance historian, graphic artist) and Kenneth Archer (scenic consultant, art historian) are a dance and design team based in London. For over three decades, they have reconstructed lost ballets and created original productions through Ballets Old & New, staging works for many companies: Joffrey Ballet, Paris Opera Ballet, Mariinsky Ballet, Hamburg Ballet, Royal Ballet (London), Les Grands Ballets Canadiens, Polish National Ballet, Royal Swedish Ballet, Rome Opera Ballet, and Les Ballets de Monte-Carlo. Hodson and Archer have lectured and given workshops worldwide, including in the U.S. at the Museum of Modern Art (MoMA), New York University’s Gallatin School of Individualized Study, the Guggenheim Museum, the National Gallery of Art and the Kennedy Center (Washington, D.C.), the Art Institute of Chicago, and the Museum of Contemporary Art (MOCA) - Chicago and Los Angeles, as well as at the Juilliard School, the University of North Carolina School of the Arts, and numerous other American colleges and universities.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

Profiles Archer received his doctorate in European painting and theatrical design of the late 19th- and early 20th- centuries from the University of Essex (UK) in 1988, and Hodson received a doctorate in dance history (focusing on “The Arts of Spectacle”) from the University of California, Berkeley, in 1985. The couple write books and articles, and exhibit and publish drawings from their reconstructed ballets. Their book The Lost Rite (2014), with photographs by Shira Klasmer, was translated and published in Russian by the Vaganova Academy (St. Petersburg) in 2015. Archer wrote Roerich East and West (Parkstone International, in English and French, 1999); Hodson has written monographs on reconstructing Nijinsky’s Le Sacre du Printemps and Jeux (Pendragon Press, 1996 and 2008) and has a book in progress, Nijinsky’s October Revolution: Till Eulenspiegel. Hodson and Archer are currently preparing their next project, Balanchine’s Twenties, a series of five bijou books designed and edited by Elizabeth Kiem about the couple’s reconstructions of early ballets by the 20th-century master choreographer. The first in the series, Le Chant du Rossignol (The Song of the Nightingale), was just published by Trapeze Press this season. The couple have received various grants and awards, including from the National Endowment for the Arts (choreography); the International Research & Exchanges Board and Indian Council for Cultural Relations (research travel); and the British Council and USIS (lecturedemonstration tours). Hodson and Archer have each received a Nijinsky Medal (Poland), and have given Patten (Indiana University) and Fulbright (Athens) lectures. The couple have also received other honors, including: the Monaco Prize for their documentary 4 Emperors & 1 Nightingale, about the reconstruction of Le Chant du Rossignol; the BBC Music DVD of the Year award for their Mariinsky Ballet reconstruction of The Rite of Spring; the Positano Prize (Italy) for ballet legacy; and residential fellowships in ballet production at Princeton University and at the University of Surrey and Kingston University (UK). In 2017, they were fellows at the Center for Ballet and the Arts at New York University. They recently staged the 1923 Cubist ballet La Création du Monde with the Greek National Orchestra at the Megaron Theatre in Athens. Currently, they are presenting the U.S. premiere of Le Chant du Rossignol with Ballet West.

Profiles COLLEEN NEARY

Stager, Apollo and Prodigal Son Colleen Neary’s career in performing, teaching and staging ballets has been nothing short of stellar. Born in Miami, Florida, Neary trained at The School of American Ballet and Harkness House, both in New York City. She danced as a soloist from 1969 to 1979 in the New York City Ballet under the direction of George Balanchine, and had numerous roles created for her by George Balanchine, Peter Martins, Jacques d’Amboise and others. From 1975 to 1979, she was a faculty member at School of American Ballet and company teacher for New York City Ballet. She was invited in 1979 to be Ballet Mistress and Choreographic Assistant for the Zurich Ballet. During this period, she also staged Rudolf Nureyev’s Don Quixote and Manfred for La Scala de Milan, Zurich Ballet, and Vienna State Opera. She also performed as a guest artist in Hamburg, Munich, Berlin and Lisbon. In 1984 she was invited to be Principal Guest Artist and company teacher for Maurice Béjart’s Ballet du XXième Siecle where he created several roles for her, among them The American Jury in Le Concours. In 1986 she joined Pacific Northwest Ballet as Principal Dancer, and in 1992 she joined The Royal Danish Ballet as Ballet Mistress and company teacher, and later became First Ballet Mistress in charge of productions. In 2004 Colleen Neary, along with her husband and CoArtistic Director Thordal Christensen, founded Los Angeles Ballet, now in its 14th season, where they co-choreographed their own versions of Swan Lake, Sleeping Beauty, Don Quixote, and The Nutcracker. Colleen Neary is a member of the George Balanchine Trust and has staged many of his ballets for companies all over the globe. Neary is the author of an essay on Balanchine’s Brahms Schoenberg Quartet in the book Balanchine: Celebrating A Life In Dance. (Tide-mark Press, 2003.)

IGOR STRAVINSKY

Composer, Le Chant du Rossignol and Apollo Igor Stravinsky was born on June 17, 1882, in Oranienbaum, Russia. He rose to fame in the early 1900’s for his compositions for the Ballets Russes, including the controversial The Rite of Spring. Stravinsky brought his family first to Switzerland and then to France, continuing his output with such works as Renard and Persephone. After moving to the United States in 1939, he completed his famed Symphony in C and became an American citizen. Stravinsky died in New York City on April 6, 1971, with more than 100 works to his name. BALANCHINE’S BALLETS RUSSES 19–20 SEASON

Profiles SERGEI PROKOFIEV

Composer, Le Fils Prodigue Sergei Prokofiev first received piano instruction from his mother, who also encouraged him to compose. After studying with Glière, he passed the entrance examination at the St. Petersburg Conservatory. There, he studied with Rimsky-Korsakov and Liadov. He also formed a lasting relationship with Sergei Diaghilev, who arranged Prokofiev’s first performance outside Russia (in Rome, in 1915). His opera The Love of the Three Oranges and the Third Piano Concerto both premiered in Chicago in 1921. In Paris, where Prokofiev settled, Diaghilev produced his ballets from 1921-1932. After returning to Russia, Prokofiev composed Peter and the Wolf, the opera War and Peace, and the ballets Romeo and Juliet and Cinderella. His death, on March 5, 1953, was largely overlooked due to the death of Stalin that very same day.

HENRI MATISSE

Original Décor and Costumes, Le Chant du Rossignol Over a six-decade career, artist Henri Matisse worked in all media, from painting to sculpture to printmaking. Although his subjects were traditional—figures in landscapes, portraits, interior views—his revolutionary use of brilliant color and exaggerated form to express emotion made him one of the most influential artists of the 20th century.

GEORGES ROUAULT

Sets and Costumes, Prodigal Son Georges Rouault was a French artist whose work melded Fauvism and Expressionism with its jewel-like tones and bold graphic lines. Alongside Henri Matisse, André Derain, Rouault culled from his spiritual fervor and knowledge of medieval stained glass to produce resonating portraits, landscapes, religious scenes, and still lifes. Rouault died on February 13, 1958 in Paris, France at the age of 86. Today, his works are held in the collections of the Carnegie Museum of Art in Pittsburgh, the Musée d’Orsay in Paris, the Hermitage Museum in St. Petersburg, and the Tate Gallery in London, among others.

EVER WONDER IF THEREâ&#x20AC;&#x2122;S LIFE ON OTHER PLANETS? LUCIANNE WALKOWICZ

ASTRONOMER, THE ADLER PLANETARIUM

GIRLS IN STEM BECOME WOMEN WHO CHANGE THE WORLD. LEARN MORE @SHECANSTEM ON INSTAGRAM

From the Artistic Director (Continued from page 18) The libretto for Apollo was written by Stravinsky himself and, in a series of abstracted tableaux, variations, and pas des deux, depicts the birth of Apollo and his growth into godhood. Of the three muses Apollo interacts with, poetry (Calliope), mime (Polyhymnia), and dance (Terpsichore), only the muse of dance truly captures his interest. In 1978, in keeping with his quest to free ballet from too many trappings, Balanchine eliminated Apollo’s birth and final ascent to Mount Parnassus. For this program, though, I wanted to show his development as a choreographer at the Ballets Russes, so I chose to present the earlier version of Apollo that is the closest that we have today to the 1928 original. The original also had extensive sets and costumes by André Beauchant. Diaghilev and Balanchine did not like Beauchant’s costumes and, after the opening, they approached their friend Coco Chanel to create new, simplified costumes. When Balanchine brought the work back in the 1950’s for his now renowned New York City Ballet, he dropped all formal set and costume elements, preferring instead a more streamlined look. A structurally exposed staircase at the back of the stage depicted Mount Parnassus and the costumes were pared down to clean, unadorned tunics and tights. This was how Balanchine insisted the ballet be done going forward, so that nothing would distract from the steps and the music. The result is a work of pure elegance and epitomizes the Balanchine style. Without being overly emotional or sentimental, Apollo is deeply moving and, in an abstract way, tells of both Balanchine’s and Stravinsky’s growth as artists. When Balanchine’s Apollo first premiered in America, none other than Lew Christensen, brother of Ballet West founder Willam Christensen, danced the title role. It is an honor that the production you are seeing now is the Ballet West premiere of this masterpiece. Balanchine is known for his great epithet “Ballet is woman.” It is notable, then, that two of his most enduring masterpieces, Apollo and Prodigal Son, give the primary focus to men. Throughout his life, Balanchine would revive both of these works when a specific male dancer was right for them. Lew Christensen, André Eglevsky, Jacques D’Amboise, Edward Villella, and Mikhail Baryshnikov are just a few of the great artists to dance one or both of these roles. With his 1929 Prodigal Son, Balanchine created perhaps one of the most profound roles ever for a male dancer and it is exciting to be able to revive this work for Ballet West. Adapted from a parable from the gospel of St. Luke, the ballet depicts the Prodigal Son’s rebellious departure from home and his seduction by a beautiful and treacherous siren, whose followers rob him. Wretched and remorseful, he drags himself back to his forgiving father. The sets and costumes for Prodigal Son were created by renowned expressionist Georges Rouault, the libretto, again, written by Boris Kochno, and the score 42

composed by Sergei Prokofiev. Prodigal Son would prove to be the only time Balanchine and Prokofiev worked together. While Diaghilev was very pleased with Balanchine’s abstract approach to the story, Prokofiev wanted a more classically balletic approach. He especially disliked the strong and domineering way in which Balanchine represented the Siren. Adding to Prokofiev and Balanchine’s dislike for one another was the financial situation. At the time, it was customary for the composer and scenic artist to receive royalties, but not the choreographer; the choreographer could receive a percentage of the composer’s royalty as a courtesy, almost like a tip. However, Prokofiev refused to share his royalties with the young, nearly impoverished Balanchine, and from that day on, Balanchine refused to choreograph to Prokofiev’s music. The creation of Prodigal Son was also fraught with anxiety from the dancers’ perspective. Serge Lifar, the production’s original Prodigal Son and incidentally the original Ballets Russes Apollo, could not figure out how to approach his character. Balanchine is reported to have given a simple, dry answer, which was just to dance the steps to the right music. This would ultimately become Balanchine’s overall approach to his art: spare, simple, with no “phony” emotions. (Much later, he did say that Lifar was the best Prodigal Son.) Felia Doubrovska, the original Siren, also struggled, as she felt uncomfortable in a role that was so overtly sexual. With her, Balanchine was very gentle and understanding, helping her through her discomfort with much of the same advice he gave to Lifar. Nevertheless, the ballet was a huge audience success, with Prokofiev himself conducting on opening night. Unexpectedly, Prodigal Son became one of the last ballets of Diaghilev’s brilliant but short-lived company—Diaghilev passed away suddenly in August 1929. There were a number of incarnations of the Ballets Russes in ensuing years, each, to varying degrees, following Diaghilev’s ethos of bringing together artists and composers to create great art. Indeed, Diaghilev had introduced the one-act ballet to the world. Balanchine immigrated to America and, in 1933, founded the School of American Ballet to train dancers in his style and technique. His approach would become synonymous with American ballet and he grew to be considered one of the greatest choreographers of all time. The three works on the Balanchine’s Ballets Russes program are presented in chronological order—I hope you enjoy this fascinating glimpse into Balanchine’s early years, and that you may see his growth as a choreographer during this period. As always, I am grateful for your patronage.

Adam Sklute

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

In Focus A SONG FOR TODAY:

Reviving Balanchine’s “Le Chant du Rossignol” BY PHIL CHAN, CO-FOUNDER OF FINAL BOW FOR YELLOWFACE I was blown away the first time I saw George Balanchine’s Le Chant du Rossignol in rehearsal. Lovingly revived by scholars Millicent Hodson and Kenneth Archer, the ballet represents a stylistic bridge between the Imperial ballet of the 19th century, the Orientalism of the Ballets Russes, and the beginnings of Balanchine’s later neoclassical style most associated with the New York City Ballet. With sets and costumes by Henri Matisse, Le Chant du Rossignol has all of the components to be a true classic dance work spectacle. However, as a historic work from 1925, what was then thought of as an “exotic” and stylized portrayal of Chinese people, now in 2019, had the potential to look racially dated or caricatured. The question for Ballet West was — how to revive the work with historical integrity without perpetuating offensive stereotypes of Chinese people? At 21, George Balanchine had just joined Diaghilev’s Ballets Russes when he was given an exciting challenge: to pick up a previously unrealized choreographic project by one of his musical idols, Igor Stravinsky. Based on a fairy tale by Hans Christian Andersen, Stravinsky’s score for Le Chant du Rossignol, or The Song of the Nightingale, tells the story of an ailing Chinese Emperor and the healing song of a magical bird. Distracted by the gift of a sparkling and colorful robotic bird, the Emperor falls to his deathbed, only to have Death herself banished by the power of the humble real nightingale, whose song saves the Emperor. A cautionary tale against adopting technology over authentic connections, the core lessons from Le Chant du Rossignol could not come at a more relevant time.

court ladies | photo by joseph enriehi

Parallel to the history of the ballet itself, Chinese people in America had been creating their own story as well. As with any immigrant group in American history, the Chinese faced their own share of xenophobic discrimination. With the first wave of immigrants who came during the Gold Rush in the early 1800’s, Chinese people have been caricatured and demonized in political cartoons, theater, and vaudeville, and later in film and television, a phenomenon known as “Yellow Peril.” Most often this manifested in the performing arts as “Yellowface,” the practice of white performers exaggerating mannerisms, racial features, and accents of Asians. As a result of migration and other international geopolitical events, Yellowface reinforced old ugly stereotypes and brought out new ones; from the Chinese Exclusion Act, to Japanese Internment, to the Vietnam War, we see negative images of Asians used to justify mistreatment of them as a group.

Just as “Blackface,” which portrays Blacks as simple-minded, primitive, silly, or violent, Yellowface is based on a similar distortion of Asian racial features and mannerisms. The Chinese tradition of bound feet, when translated to the stage, became small shuffling steps, the humble bow gesture became head bobbing, and the early image of the railroad worker with his rice paddy hat and queue became the stand-in for “Chinese” in America. To this day, Chinese Americans are still challenged with breaking free of these iconic tropes. A recent exposé on Harvard admissions practices revealed that Asians consistently ranked lowest in “personality.” Hollywood and television are only just starting to represent Asians with nuanced portrayals beyond characters like super villain Fu Manchu, Mickey Rooney’s Mr. Yonioshi in “Breakfast at Tiffany’s,” or exchange student Long Duck Dong in “Sixteen Candles.” Some comedians still think racial slurs against Asians are fair game. While Le Chant du Rossignol itself does not attempt any overt caricature, there were gestures and movements in the work that over time have taken on mean-spirited or negative connotations. Despite the innocent intentions of the creators, Ballet West needed to make sure that the impact of these negative tropes, like bobbing and shuffling, didn’t distract from the beauty and significance of the work itself. Guided by its commitment to diversity and inclusion, Ballet West leaned into the conversation. During the rehearsal period, Ballet West proactively invited leaders from the Asian American community to join a rehearsal and begin a dialogue about what changes were needed in order to ensure that everyone could enjoy the work without the distraction of caricature. Leading up to the performance, the company hosted a series of conversations around this topic with students from local schools as well as with the general public before the opening weekend performances. In tandem, Ballet West has also taken proactive steps to ensure that the historical integrity of the work remains intact. As part of the performance, the company will present a display in the lobby that highlights the dancers in the adapted make-up designs for the 2019 production. Audience members can not only appreciate the history and context of the original work but also engage more deeply about what it means to represent each other respectfully in the diverse society we live in today. The longevity and relevance of the great works from the Western canon depend on their ability to reach audiences around basic human truths. I believe Le Chant du Rossignol and the themes it presents make it a work with that potential. However, performing it with outdated or discolored representations does a disservice to the work; like all dance, it is only through change that the work remains alive and relevant for people today. While this ballet might be slightly different than it was in 1925, its song is no less powerful for audiences in 2019.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

In Focus

A Nightingale Sings in Salt Lake City BY KENNETH ARCHER AND MILLICENT HODSON Le Chant du Rossignol (The Song of the Nightingale) began its life in the mid-19th century, when Hans Christian Andersen wrote the fairy tale to honor opera singer Jenny Lind (who, because of the story, became known as the “Swedish Nightingale”). The Chinese theme of the tale probably came from the setting in which Andersen first heard Lind sing - a Chinese pagoda in Tivoli Gardens, in Copenhagen. The fairy tale has enduring relevance; it is an early confrontation of nature versus technology. An ailing Chinese emperor is healed by the natural song of a nightingale, but not before a contest with a comical yet threatening mechanical bird, a role originally performed by choreographer George Balanchine. choreographic drawings by m. hodson of death with skull necklace and bowl-of-life palm.

choreographic drawing by m. hodson of the nightingale dancing for the emperor.

In 1914, Igor Stravinsky created an opera based on Andersen’s tale for Sergei Diaghilev’s Ballets Russes, with 18th-century-inspired “Chinoiserie” designs by Alexandre Benois. That lavish production was destroyed in World War I, so Diaghilev asked Stravinsky to reduce the score to a ballet suite without singers. Leonide Massine choreographed it in close collaboration with Henri Matisse, whose designs presented a modernist version of the Ming dynasty aesthetic. When the ballet premiered in 1920, reviews were mixed. Many critics found Massine’s tableaux vivants (French for “living pictures”) to be too static for the music, so in 1925, soon after Balanchine joined the Ballets Russes, Diaghilev asked him to recreate the work, still using the Matisse decor and costumes. It was a triumph for the then unknown Balanchine. Coming straight from the jazz culture of Petrograd (St. Petersburg, during World War I) and the corps de ballet of the Imperial Russian (Mariinsky) Ballet, Balanchine had his own agenda – and Diaghilev was delighted. He knew his company and repertoire needed rejuvenation in the creatively vibrant but economically vulnerable landscape of postwar Paris. Balanchine, an impoverished immigrant, managed to pack into Le Chant du Rossignol the wealth of his Russian heritage - quotes from Marius Petipa’s classic La Bayadere, storytelling devices from Diaghilev’s triple bills, and angular and acrobatic features from his own Soviet avant-garde dances. This eclectic mix, typical of the new art of the USSR, was called, by filmmaker Sergei Eisenstein, a “montage of attractions,” a circus of styles. Balanchine, then just 21, brought his stylistic riches to Diaghilev’s touring company, but he did not find life with the company easy. English critics reported hearing him snap his fingers in the wings to keep the Ballets Russes in step. Perhaps this experience triggered the transformation of his Apollo in 1928, when Balanchine radically reduced the ballet’s scope, cast, and vocabulary.

Le Chant du Rossignol therefore provides us with a privileged glimpse of transition, when the master choreographer-in-the-making learned the virtues of restraint. We reconstructed Le Chant du Rossignol in 1999 with Les Ballets de MonteCarlo, whose dancers are known for their French chic and technical precision. We were proud of Le Chant du Rossignol then, but we are fascinated by it now, and how different it looks on Ballet West. It is a question of scale. The United States is a big country and Ballet West has tall dancers. Each fills the space around them with vigor. We like to think that Balanchine, with his fondness for cowboy movies and the great American expanse, would appreciate the Salt Lake City production. With Artistic Director Adam Sklute and our team of ballet masters and musicians, we have simplified some gestures, as Balanchine himself did in relation to Massine’s 1920 version. Critics noticed this “simplification of the stage picture” in 1925. For example, in the 1920 ballet, the Court Ladies carried cutouts of potted plants to prepare the court for the Nightingale’s arrival. Balanchine omitted the props and just let the women sweep the air in their flowing Matisse tunics, with gestures similar to those found in traditional Chinese dances done with long sleeves. While reconstructing Le Chant du Rossignol, we learned that Matisse had done in-depth research for the ballet, especially for the Warrior characters and for that of Death. At the Museé Guimet (The National Museum of Asian Arts) in Paris, we saw objects that Matisse had also studied at the museum in the 1920’s: eighth-century polychrome wooden sculptures retrieved from cave temples in western China. For Le Chant du Rossignol, Matisse duplicated the sculptures’ body armour, dragon-mouth sleeves, leonine beards, and terracotta-colored limbs. Known as Jingang in Chinese iconography, these types of warrior guards were often placed in a square grouping of four around a statue of Buddha. Matisse also researched the archetype of Death in the Tibetan Tantric tradition: a figure, draped in skulls, who balances the life forces in her bowl, judging the moment for transformation and thus enlightenment. In Le Chant du Rossignol, only a small bird is capable of confronting such a powerful demi-goddess. We were drawn to the arduous process of reconstructing Le Chant du Rossignol largely because of Matisse’s commitment to presenting such treasures from Asian cultures. For decades, we had studied classical Chinese philosophy, medicine, and movement arts. Kenneth teaches the widely known Yang style of Taiji Quan (tai chi), and Millicent recently completed the ten-year course to become a master teacher of the dynamic Chen style, which dates from the Ming dynasty. In our rehearsals with Ballet West, Millicent took special pleasure in sharing with the dancers the Chen movement known as Jingang Dao Dui, or “Buddha’s Warrior Pounds Mortar.” The irresistible pull of the ballet came from surviving dancers who had lived it: Alicia Markova, then a 14-year-old ingénue on whom Balanchine created the role of the Nightingale, and the four principals, the great Alexandra Danilova, Ninette de Valois, Felia Doubrovska, and Tamara Geva, who were miffed that the newcomer was the star. Balanchine called these four women “The Divas” and made special moments in Le Chant du Rossignol just for them. As

(Continued on next page) BALANCHINE’S BALLETS RUSSES 19–20 SEASON

In Focus

(Continued from page 47)

we worked on other early Balanchine ballets, these dancers kept sending us back to 1925: “George [Balanchine] did that first in Le Chant du Rossignol…” Lara (Obidenna) Ladre remembered her corps de ballet steps and those of her husband, Marian, who was a Warrior. At a chance meeting with Doubrovska, two decades before we did Le Chant du Rossignol, Millicent learned that Death was the origin of the Siren, a role Doubrovska had danced in Balanchine’s 1929 Prodigal Son. As Doubrovska spoke, she twisted a long string of pearls. When asked about the gesture, she explained how Death and the Nightingale used a huge necklace of skulls to trap each other. We also had the testimony of Boris Kochno, Diaghilev’s secretary, librettist, and collaborator, and the memories of Philip Dyer, who was 9 years old at the time and “dazzled” by the Mechanical Nightingale and the whole Ballets Russes production in London (Dyer would go on to found the Theatre and Performance Collection at the Victoria and Albert Museum). We then assembled all these puzzle pieces together with Matisse’s letters to his wife, copious reviews in English and French, photographs, and other visual documents to reconstruct Balanchine’s Le Chant du Rossignol as you will see it now. This research is synthesized in our bijou book Le Chant du Rossignol, the first in our series, Balanchine’s Twenties, created with Elizabeth Kiem’s Trapeze Press. Le Chant du Rossignol is now available to purchase from Blurb Publishers at www.blurb.co.uk/b/9683950-le-chant-du-rossignol.

jane wood, ballet master for le chant du rossignol at ballet west, with dance & design reconstructors millicent hodson and kenneth archer | photo by beau pearson.

In Remembrance: Robert Arbogast This fall, Robert Arbogast, former Principal Artist with Ballet West, passed away too soon, and our entire Ballet West family will remember him as a wonderful dancer, supportive partner, gregarious friend, and dedicated and loving father to his sons, Dane and Alec.

1958-2019

Bob was born and raised in Pittsburgh, Pennsylvania. He began his ballet career with the Pittsburgh Ballet Theatre and spent his entire adult life in Salt Lake City, Utah rising to the rank of Principal Artist with Ballet West, and then moving on to become a financial advisor with Wells Fargo. Bob had a deep sense of empathy and a loyal admiration for those who earned his respect. Bob was the life of the party, handsome and charming- everyone could only gravitate toward the warmth of his disposition and the authenticity of his character. Bob leaves behind his two sons, sister Lil Arbogast, niece Cara Feuer, brother-in-law Jeffrey Feuer, and the mother of his sons Maureen Laird. He will be missed by all who knew him.

Wellness Partners We are thankful for all the medical professionals who are committed to helping our dancers perform at their best and stay injury-free. Salt Lake Regional Medical Center Dr. Jeremy Wimmer, Elite Chiropractic Salt Lake Power Yoga Dr. John Bennett, Ear Nose and Throat Center of Utah Allen Tran, MS, RD, CSSD High Performance Dietitian Mallory Berge, L.Ac. The Gym at City Creek

BALANCHINEâ&#x20AC;&#x2122;S BALLETS RUSSES 19â&#x20AC;&#x201C;20 SEASON

Corporate, Foundation, and Government Support We thank the following community partners for their generous contributions. $100,000 AND ABOVE The Church of Jesus Christ of Latter-day Saints Foundation George S. and Dolores Doré Eccles Foundation The William Randolph Hearst Foundation Huntsman Foundation The Meldrum Foundation Salt Lake County Zoo, Arts & Parks (ZAP) Utah Department of Heritage Arts $25,000–99,999 B. W. Bastian Foundation BMW of Murray Dominion Energy Marriner S. Eccles Foundation Florence J. Gillmor Foundation Holland & Hart LLP InterWest Moving & Storage* David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation Jones Waldo* The Kahlert Foundation Frederick Q. Lawson Foundation McCarthey Family Foundation O.C. Tanner Company The Rea Charitable Trust Salt Lake County Community Services: Tourism, Recreation, Culture & Convention Salt Lake Regional Medical Center* SEARCH Group Partners* The Shubert Foundation Simmons Family Foundation Sorenson Legacy Foundation Summit County Cultural RAP Tax Summit Sotheby’s International Realty Utah Division of Arts and Museums Utah Office of Tourism Utah State Board of Education: Professional Outreach Programs in the Schools (POPS) $10,000–24,999 Ancestry Beaver Creek Foundation C. Comstock Clayton Foundation CompuNet, Inc. Lawrence T. and Janet T. Dee Foundation Willard L. Eccles Foundation Eleve Dancewear* 50

Goldman Sachs Richard K. and Shirley S. Hemingway Foundation Intermountain Healthcare JP Morgan and Chase Janet Quinney Lawson Foundation Merit Medical Systems, Inc. National Endowment for the Arts S.J. and Jessie E. Quinney Foundation The Jerome Robbins Foundation Rocky Mountain Power Foundation Salt Lake Power Yoga* Stephen G. & Susan E. Denkers Family Foundation Virginia B. Toulmin Foundation U.S. Bank Foundation Visit Salt Lake Wells Fargo Dr. Jeremy Wimmer with Elite Chiropractic Center* $5,000–9,999 AC Hotel Salt Lake City/Downtown* Bambara Restaurant* Blue Iguana* R. Harold Burton Foundation Every Blooming Thing* Freed of London Choo-San Goh & H. Robert Magee Foundation The William H. & Mattie Wattis Harris Foundation Lifetime Products Inc. Myriad Genetics, Inc. Nordstrom PrincePerelson and Associates Promontory Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Workers Compensation Fund

Henry W. and Leslie M. Eskuche Charitable Foundation Holland & Hart LLP InterWest Moving & Storage London Belle Supper Club* Merrick Bank Parr Brown Gee & Loveless Pat’s Dancewear Snell & Wilmer Snow, Christensen & Martineau Foundation Allen Tran, MS, RD, CSSD, High Performance Dietitian* YMCA of Northern Utah The above lists includes corporate, foundation, and government support received between September 1, 2018 and September 23, 2019. *Indicates contribution made in-kind

2019–2020 CORPORATE COUNCIL We thank those business leaders who comprise the Corporate Council, leading their companies and thus our community in their support of Ballet West.

AC Hotel Salt Lake City/Downtown* Ancestry Bambara Restaurant* Blue Iguana* BMW of Murray CompuNet, Inc. Every Blooming Thing* Goldman Sachs Holland & Hart LLP Hotel Monaco* Intermountain Healthcare InterWest Moving & Storage $1,000–4,999 Jones Waldo* 3M Health Information Systems Lifetime Products Inc. Dr. John R. Bennett/ENT Center of London Belle Supper Club* Utah* Merit Media Systems, Inc. Mallory Berge, L.Ac.* Myriad Genetics, Inc. City Center Psychology* O.C. Tanner Coldwell Banker Residential PrincePerelson and Associates Brokerage Community Ruth’s Chris Steak House* Foundation Salt Lake Regional Medical Center* Katherine W. & Ezekiel R. Dumke, Jr. Summit Sotheby’s International Realty Foundation Visit Salt Lake Durham Jones & Pinegar Workers Compensation Fund EDCUtah* *Indicates in-kind partner

Individual Donors FOUNDER’S CIRCLE We thank our Founder’s Circle donors, each of whom has given significantly to the company throughout its history, either through collective annual giving or extraordinary, onetime gifts. B. W. Bastian Foundation Peggy Bergmann Val A. Browning Foundation George S. and Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Huntsman Foundation Barbara Barrington Jones Emma Eccles Jones Foundation Frederick Q. Lawson Foundation Janet Quinney Lawson Foundation The Meldrum Foundation John and Marcia Price Family Foundation S.J. and Jessie E. Quinney Foundation Shari and David Quinney Rocky Mountain Power Foundation Beano Solomon James Lee Sorenson Family Foundation Wells Fargo HERITAGE CLUB We thank our loyal Heritage Club patrons for their generous annual support. MR. C. AND MRS. WALLACE $25,000 AND ABOVE Peggy Bergmann Judy Brady and Drew W. Browning John and Kristi Cumming Kathie and Charles Horman Paul and Cheryl Huntsman Barbara Barrington Jones Peter and Catherine Meldrum John and Andrea Miller John and Marcia Price Family Foundation Shari and David Quinney Theodore Schmidt Beano Solomon Krista and Jim Sorenson

PRINCIPAL AND FIRST SOLOIST $10,000–24,999 Vilija Avizonis and Gregory McComas Michael Black and Kimberly Strand Judy and Larry Brownstein DiFiore Family W. Hague & Sue J. Ellis Foundation Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Jennifer Horne-Huntsman and Scott Huntsman Cindy and Howard Hochhauser Katharine W. Lamb Jennifer and Gideon Malherbe Rachèle McCarthey and Brock Van de Kamp Dan P. Miller David Parkinson and Leonardo Arantes Silveira The Paterson Center Madeleine and Harvey Plonsker Jeanne Potucek Erin and Bryan Riggsbee Mark and Melanie Robbins Jonathan and Liz Slager Barbara L. Tanner Sarah Eccles Taylor and Gary Taylor Roy and Lisa Vincent Brad and Linda Walton Julia S. Watkins Carole Wood and Darrell Hensleigh SOLOIST AND DEMI-SOLOIST $2,500–9,999 Stephany Alexander Margaret Anderson Bonnie Jean Beesley Kathleen and Andy Blank The Brown Family Foundation Carol Browning, Céline & Nathan Browning, and Rete & Rikki Browning Alexis Carr Carol Carter Roger and Kathryn Carter Carol T. Christ Cecile and Harold Christiansen Willard and Julie Dere Spencer F. and Cleone P. Eccles Family Foundation David and SandyLee Griswald John and Ilauna Gurr Marc and Mary Carole Harrison Gordon Irving James R. Kruse and Mary Jo Smith Attila Lenkey

David and Naja Lockwood Paul and Melanie Lyon Santiago and Valeria Marti Angela Martindale and Michael Snow Thomas and Mary McCarthey Willis McCree and John Fromer Anthony and Jessica Mirabile Scott and JoAnn Narus Anne and Ila Neeley Jill E. Perelson Richard and Lois Peterson Jeanie Pollack Richard and Nancy Potashner Brian and Janae Powell Chris and Ellen Rossi Margaret P. Sargent Jonathan and Amanda Schmieder Benjamin and Lael Selznick Shiebler Family Foundation Braden and Heather Shupe Adam Sklute and Christopher Renstrom John Sklute Sue and Jack Stahl Kristin and Tom Stockham Rick and Chris Veit Sue and Walker Wallace Susan Warshaw Beatryx Washington Marelynn and Edward Zipser CORPS DE BALLET $1,000–2,499 Eric Ahlstrom Alta’s Rustler Lodge Patricia Andersen Stephen Anderson Bené Arnold Jordan Atkin Carol Baer Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Vicki and Bill Bennion Julie and Don Bigelow Anita Blundell Ginny Bostrom J. I. Burkemper Rebecca Marriott Champion Carmen Chirinos Circle of Life Women’s Center Jim and Barbara Clark James M. and Sherise G. Clayton Drs. Joan L. and William J. Coles William and Melissa Connelly Meri Crandall - Realtor, Summit Sotheby’s International Realty

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

Individual Donors Pascale De Rozario and Jonathan Crossett Diggity Dog Resort Earthology Landscape John Eckert Sissy Eichwald Deborah B. and Edward Felt John and Joan Firmage Tracy Frankel Karen L. Freed Patti Eylar and Charlie Gardner David Keith Garside and Audrey Miner Marla M. Gault DeGauss David and SandyLee Griswold Jon and Tami Hansen Sandra and David Haughey Connie C. Holbrook Julie Hopkins Hot Shot Sprinkler Repair & Landscape Larry and Tina Howard Robert and Dixie Huefner Scott and Heidi Ingham David and Linda Irvine David P. Heuvel and Johann Jacobs Marilyn and Chester Johnson G. Frank and Pamela Joklik John S. Karls Scott and Allison Kendell Jeanne M. Kimball Scott Kirkpatrick and Lydia Biegert Carole Klein and Brad Chesivoir The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Cynthia Lampropoulos and Dr. George Gourley Roxanne Christensen and Tony Lazzara Helle and Jon Le Rette Mary and Lindon Leader David E. and Helane B. Leta Kathy Lynch Dr. John and Colleen McCarter Nancy Melich and Lex Hemphill David and Colleen Merrill Jan Mitchell In Memory of Barbara C. Moreton Carolyn Nebeker Oren and Liz Nelson Karen Nichols Kirsten Novak and Mark Martinez Joanne Parrish Linda S. Pembroke Andrea and Don Peterson 52

Katie Marie Pollard Lee Quinney Nancy Rapoport and Jeff Van Niel Suzanne and David Razor Barbara Snarr Reid Victor and Susan Rickman Mark and Linda Scholl Robert and Nancy Schumacker Katherine Scott Laura Scott and Rodney Mena Aharon Shulimson and Julie Terry Beth and Randy Siebert Teresa Silcox Lou Ann Stevens Jennifer Strachan and Tom Biersbach Cyndie Taylor Raymond Vismantas Amy Wadsworth and David Richardson Mark Weisbender Sue Wilkerson Jay and Alicia Wilson Harvey Woodyatt Kathryn Zwack and Brian Allison Anonymous (2) The above list includes individual donations received between September 1, 2018 and September 23, 2019. MEMBERSHIP We thank our Members at the Producer level for their generous annual support of $500 and above. Michael M. Bettin Ronald and Tracy Bolander Will Chamberlain Karen Chantry Susan Chilton Wilma Corkery and John Ripley Sandra Covey Charles and Susan Critchlow Ronny L. Cutshall John Bohnsack and Rebecca Day Dr. Michael and Carol DeCaria Paul and Terrell Dougan Eric and Shellie Eide William Etnyre Barbara W. Frazier Mark and Wenda Fry Dr. Nancy Futrell, M.D. and Dr. Clark Millikan, M.D. James Halliday

Cynthia Hamman and Robert Robbins Kenneth and Kate Handley Joel and Frances Harris David and Sheila Hayes Moore Laurie Hofmann Mark and Wendi Holland Barbara Horwitz Elise Hutchings Merlin Jacobsen Marvin Kimball Brooke Love David and Donna Lyon Dr. and Mrs. Ned L. Mangelson Howard Mann Joshua Martin Drs. Daniel and NoĂŠmi Mattis Amanda Maughan Tracy NcNally Keith and Donna Mercer Elia Miller Pat and Jim Morgan Marilyn Neilson Carol M. Oliver Maura and Serge Olszanskyj Tomi Jean Ossana and Chris Proctor Ronald and Camille Parker Taylor and Holly Parkin Tim Payne Leslie Peterson and Kevin Higgins Vantage Point Advisors Hildegard Rayner Joy Rocklin Genevieve Maire Rosol Steven Schamel Diana Major Spencer Kevin and Alice Steiner Mr. and Mrs. William L. Townsend Michael and Melinda Welling Dave and Jerre Winder Mary Bird and Lance Wood Richard and Marsha Workman Anonymous (6)

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Artistic Impact Fund Donors We thank the below donors for their contributions to the Ballet West Artistic Impact Fund. Each gift was made specifically in support of one of three initiatives: Commissioning New Works, Commissioning New Productions, or Sponsoring National and International Touring. Kathie and Charles Horman

Barbara Barrington Jones

Barbara Levy Kipper

Academy Scholarship Fund Donors We thank those who have contributed to the Ballet West Academy Scholarship Fund, spanning all four Academy campuses, with generous donations of $1,000 and above. Marie and Kevin Brown Barbara Barrington Jones Scott Kirkpatrick and Lydia Biegert Rod Livingston and Roger Livingston, Founders of R&R BBQ Susan and Chris Lockwood

Jennifer and Gideon Malherbe Willis McCree and John Fromer Park City Community Foundation: The Solomon Fund Promontory Foundation Shari and David Quinney Braden and Heather Shupe

Summit Sotheby’s International Realty The above list includes scholarship donations received between September 1, 2018 and September 23, 2019.

artists of ballet west in rehearsal for apollo. choreography by george balanchine © the george balanchine trust. | photo by beau pearson.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

Gifts Made In Memory and In Honor We thank those donors who have made a gift to Ballet West in memory or in honor of the individuals listed below. IN MEMORY In Memory of Megan Leigh Brown Marie Brown In Memory of Mikel Covey Elizabeth Barlow and Stephen McClellan Minette and Robert Kantrowitz G. G. and Nancy L. Rogers Edwina Jo Snow Jerry Stanger and Rob McFarland Lenore and John Tyler In Memory of Sue J. Ellis Ballet West In Memory of Loraine Felton Anonymous In Memory of Helen Haff Rebecca Johnston In Memory of Peter Durkee Meldrum Ballet West In Memory of Carol Ann Robertson Anonymous

IN HONOR In Honor of Peter Christie Joel and Frances Harris In Honor of Dr. Joel Mr. Harris Carolyn and Dennis Bernard In Honor of Lucas Horns Gordon Irving In Honor of Lucas Horns David Parkinson and Leonardo Arantes Silveira In Honor of Ryan Lenkey Attila Lenkey In Honor of John and Andrea Miller Lucynthia Rockwood In Honor of Christopher Ruud Mary Gootjes and John Davis In Honor of Joshua Shutkind and the Shutkind Family Arthur and Joanie Cooper Family Foundation

In Honor of Adam Sklute Anonymous In Honor of Anne Marie Smith and Family Laura and Martin deLannoy In Honor of Arolyn Williams and Ballet West Jim and Julie Crittenden

Encore Society We honor those individuals who have made a meaningful commitment to the future of Ballet West by including the company in their estate planning. BenĂŠ Arnold Berenice J. Bradshaw* Judy Brady and Drew W. Browning Val A. Browning* Kenneth P. Burbidge, Jr.* Dr. Robert H.* and Marianne Harding Burgoyne Mary Elizabeth Colton* The Donna L. Dell Trust* Kent and Martha DiFiore The Zorka D. Divich Trust* Richard and Pamela Dropek Dolores DorĂŠ Eccles* Virginia Fackrell Estate* Sid W. Foulger* DeGauss Dr. Esther S. Gross* and Dr. George D. Gross*

Merribeth Habegger-Anderson* Stephanie and Timothy Harpst Melissa A. Herbst* Geoffrey C. Hughes* Johann Jacobs and David Heuvel Grace Jackson* Flemming and Lana Jensen Sara Kaplan Dennis L. Kay Trust* Barry L. Keller* Cynthia Lampropoulos Family Trust Gaye Herman Marrash* Willis McCree and John Fromer Glenn H. and Karen Fugal Peterson Nancy Rapoport and Jeff Van Niel Margot Shott* Norman C. Tanner* and Barbara L. Tanner

Oma W. Wagstaff* Mrs. Glen Walker Wallace* Gladys Walz* Susan Warshaw Afton B. Whitbeck* Carole M. Wood and Darrell Hensleigh Marelynn and Edward Zipser *Indicates donor has passed away

Ballet West Staff Adam Sklute,

Michael Scolamiero

THE WILLAM CHRISTENSEN ARTISTIC DIRECTOR CHAIR SPONSORED BY PEGGY BERGMANN

THE ELIZABETH SOLOMON EXECUTIVE DIRECTOR CHAIR

ARTISTIC DIRECTOR

ADMINISTRATION AND FINANCE Liz Crawford Chief Financial Officer Felicia Cowan Director of Human Resources Sarah Taylor Director of Company Management Hilary Hancock Company Management Coordinator Jennifer Bailey Senior Accounting Manager Madeline Harris Accounts Payable Coordinator Teri Percy Assistant to the Executive Director and Board Liaison ARTISTIC STAFF Pamela Robinson Harris Principal Ballet Master Jane Victorine Wood Ballet Master Bruce Caldwell Ballet Master and Company Archivist Nicolo Fonte Resident Choreographer Cristin Carlin Artistic Operations Manager Calvin Kitten Director of Ballet West II and Assistant Ballet Master Heather Thackeray Student Ballet Master and Academy Artistic Liaison COSTUME PRODUCTION David Heuvel Director of Costume Production Cindy Farrimond Costume Shop Manager Barbara Arcolio Head Stitcher Mary Kay Feicht, Vicki Goslin Raincrow Stitchers

DEVELOPMENT Sarah West Chief Development Officer Natalie Cope Corporate Relations and Special Events Amy Falls Development Data Manager Nicole Levy Individual Giving Manager Jyn Van Putten Foundations and Government Giving Manager EDUCATION & OUTREACH Peter Christie Director of Education and Outreach Dana Rossi Education Associate /Assistant Director, I CAN DO Heather Fryxell Associate Director, Adaptive Dance Shelly Cordova Assistant Director, Senior Steps/ Forward Steps Temria Airmet, Nikki Bybee, Kira Coelho, Shelly Cordova, Ashley Creek, Jennifer Heighton, Sarah Lovett, Stacey Mahan, Wendee Fiedeley-McCulloch, Audrey Olsen, Moisés Próspero, Alison Russell, Amy Simkins, Anne Marie Smith, Joni Taylor, Ashlee Vilos, Krista Widdison, Trish Wilstead Educators FREDERICK QUINNEY LAWSON BALLET WEST ACADEMY Peter LeBreton Merz Director, Ballet West Academy Shawn Spainhour Managing Director Heather Fryxell Principal, Ballet West Academy at Salt Lake City Maricar Drilon Principal, Barbara Barrington Jones Family Foundation Ballet West Academy at Thanksgiving Point Cati Snarr Principal, Peggy Bergmann Ballet West Academy at Park City Cynthia Ridler Principal Faculty and Assistant to the Student Ballet Master Calvin Kitten, Jeffrey Rogers, Heather Thackeray

EXECUTIVE DIRECTOR

Principal Faculty Leslie-Ann Campbell, Victoria Koelkebeck, Sandy Flury Academy Administrators Joey Alatorre, Silver Barkes, Tonia Blomquist, Bruce Caldwell, Jenna Clark, Beth Colton, Natalie Desch, Wendee Fideldy, Lindsay Folkman, Adrain Fry, Jenna Rae Herrera, Lisa Hoyt, Katie Johnson, Chelsea Keefer, Justine Sheedy Kramer, Alexa Knutzen, Sharee Lane, Abbey Lasley, Ginger Leishman, Stacy Mahan, Constanza Murphy, Sawyer Player, Abby Rubin, Joanne Rupinskas, Christopher Sellars, Connie Smith, Jessica Thompson, Nichele Van Portfleet, Chelsea Weidman, Jaclyn Weisenbeck, Natalie Whitney, Alena Wilson, Elise Wood, Jamie Lynn Zollinger Faculty Chelsea Weidmann Summer Intensive Coordinator Maggie Wright-Tesch U of U/ BW Joint Trainee Liaison Jennifer Hildreth, Shelli Jenkins, Lindsay Preece Administrative Assistants MARKETING Sara M. K. Neal Chief Marketing Officer Joshua Jones Director of Communications Lisa Jensen Retail Sales and Boutique Manager Alex Moya Graphic Designer Beau Pearson Photographer Marissa Hodges Marketing Coordinator MUSIC Jared Oaks Music Director Ken Hodges Orchestra Manager Nicholas Maughan Company Pianist Grigoriy Ayrapetov Principal Academy Pianist, Associate Rehearsal Pianist Rob Wood Company Class Pianist Max Hall, Jim Kuemmerle, Sarah Lund, John Rukavina, Academy Pianists

TECHNICAL PRODUCTION Lindsey Gänder Interim Production Manager Michael Andrew Currey Production Consultant Michael McCulloch Production Stage Manager Robert Clifford Head Carpenter/Technical Director Josh Belka Assistant Carpenter James K. Larsen Head Electrician Corey Cresswell Assistant Electrician Cory A. Thorell Properties Master Jacquelin Bryce Wardrobe Supervisor Emily Fowler Wardrobe Assistant Yancey J. Quick Wig Master Members of IATSE Local 99 Run of Show Crew TICKETING AND SUBSCRIBER SERVICES Jack E Stahl Associate Director of Technology and Ticketing Natalie Thorpe Manager of Patron Services Jane Harris Lead Patron Advisor Hilary Hancock Patron Services Coordinator Ballet West is an American Guild of Musical Artists (AGMA) Company. Ballet West is an American Federation of Musicians (AFM) Company. Ballet West is an International Alliance of Theatrical Stage Employees (IATSE) Company.

BALANCHINE’S BALLETS RUSSES 19–20 SEASON

House Rules To ensure the enjoyment of the majority of our patrons who arrive on time, and in deference to the artists, latecomers will not be admitted to the auditorium until there is an appropriate pause in the performance. During some productions, this pause may not occur until the end of the first act. • All casting is subject to change. • For your own safety and the safety of other patrons, please do not exit the Theatre before the house lights are up.

• Please silence all electronic time pieces and cell phones for the period of the performance.

EMERGENCY EVACUATION INFORMATION

• Any use of cameras and recording equipment in the Theatre, which is not authorized by the management, is strictly prohibited.

In the event of an emergency, please REMAIN SEATED and listen to information given by management and ushers.

• No smoking, eating or drinking is permitted in the auditorium.

ASSISTIVE LISTENING DEVICES

• Lost articles may be claimed at security. • Anyone expecting emergency calls is urged to leave their seat locations and cell phones with the house manager.

Janet Quinney Lawson Capitol Theatre offers assistive listening devices free of charge and may be checked out at the coat check counter located in the lobby.

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very ry T-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram Image ations vationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections 60

Helping bring tiny

ballerinas into your arms and onto the stage. Call for an appointment: 8014086100

Our OBGYNs and midwives provide Women’s Healthcare for all stages of life, from teens to prenatal care through menopause.

370 9TH AVE, SALT LAKE CITY, UT 84103

AvenuesWomensCenter.org

Utah Ballet I Oct. 31 – 5:30 pm Nov. 1 – 7:30 pm Nov. 2 – 2:00 pm & 7:30 pm Nov. 7 – 5:30 pm Nov. 8 – 7:30 pm Nov. 9 – 2:00 pm & 7:30 pm

Ballet Showcase Nov. 21 – 5:30 pm Nov. 22 – 7:30 pm Nov. 23 – 2:00 pm & 7:30 pm

Graduate Thesis Show Dec. 5 – 5:30 pm Dec. 6 – 7:30 pm Dec. 7 – 7:30 pm

Utah Ballet II Feb. Feb. Feb. Feb. Feb. Feb.

6 – 5:30 pm 7 – 7:30 pm 8 – 2:00 pm & 7:30 pm 13 – 5:30 pm 14 – 7:30 pm 15 – 2:00 pm & 7:30 pm

DANCE.UTAH.EDU TICKETS.UTAH.EDU

Spring Student Concert Feb. 20 – 5:30 pm Feb. 21 – 7:30 pm Feb. 22 – 2 pm & 7:30 pm

Gala March March March March March March

5 – 5:30 pm 6 – 7:30 pm 7 – 2:00 pm & 7:30 pm 19 – 5:30 pm 20 – 7:30 pm 21 – 2:00 pm & 7:30 pm

Modern Senior Concert I April 2 – 5:30 pm April 3 – 7:30 pm April 4 – 7:30 pm

Modern Senior Concert II April 16 – 5:30 pm April 17 – 7:30 pm April 18 – 7:30 pm

SCHOOL OF DANCE

4670 S. Holladay Village Plaza 801-938-9241 NEW wreath & bee (vector)

old wreath & bee (pixels)

WERNER’S EUROPEAN AUTO

You’ve known us since 1988 as the premier “Independent” dealer alternative for Mercedes & BMW repair. We are excited to announce we’ve expanded our service department and now service all European cars & Sprinters! • Service, Repair, Parts, Tires • Complete Pre-Owned Sales Department • Professional Detailing

• Bosch Car Service center • Family Owned & operated • Best Warranty in town– 3 year/36,000 miles on most repairs

To celebrate our 30 years in business mention this ad & enjoy $30 off your visit to us! 3113 S. West Temple, SLC UT, 84115 • (801) 467-8220 • www.WernersMercedes.com

Breathe in, Breathe art. The Park City Gallery Association features eighteen art galleries oďŹ&#x20AC;ering extraordinary works from a prodigious variety of artists, styles and aesthetics. Both experienced and novice collectors will be elated by the quality of art while appreciating the stunning mountainside setting. Join us and see for yourself...

Gallery Stroll 6pm â&#x20AC;&#x201C; 9pm Last Friday of every month.

Proudly Sponsored

Exhibit Now Open

Free with Admission