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THE NIJINSKY REVOLUTION afternoon of a faun | games | the rite of spring

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CONTENTS Sponsors

Ballet West Masthead

The Nijinsky Revolution

From the Artistic Director

From the Executive Director

Cast

Leadership

Artistic Staff

Production Staff

Dancers

Music Staff

Afternoon of a Faun

Games

The Right of Spring

Lighting

Ballet West Orchestra

Medical Providers

Individual Donors

Sponsored Dancers

Foundation, Government, and Corporate Support

In Memory and In Honor and Encore Society

Board of Trustees 2015-2016

Ballet West Staff

Editor: Marissa Hodges; Publisher: Mills Publishing, Inc.; President: Dan Miller; Office Administrator: Cynthia Bell Snow; Art Director/Production Manager: Jackie Medina; Program Designer: Leslie Hanna; Layout Designer: Whitney Shaw; Graphic Designers: Leslie Hanna, Ken Magleby, Patrick Witmer; Advertising Representatives: Paula Bell, Karen Malen, Dan Miller, Paul Nicholas; Office Assistant: Jessica Snow; Printing: Hudson Printing Ballet West 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 2016. Ballet West, 52 West 200 South, Salt Lake City, Utah 84101. 801-869-6900. www.‌balletwest.‌org. Cover Photo: Artists of Ballet West Photo by: Luke Isley

The Nijinsky Revolution | 2015–2016 season

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Adam Sklute Artistic Director

Scott Altman Executive Director

The Elizabeth Solomon Executive Director Chair

Michael Andrew Currey Vice President of Artistic and Production Operations Pamela Robinson Harris Principal Ballet Mistress

David Heuvel Director of Costume Production

Tara Simoncic Music Director

Jane Victorine Wood Ballet Mistress

Bruce Caldwell Ballet Master / Archivist

Nicolo Fonte Resident Choreographer

Heather Thackeray Assistant to the Artistic Director

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Calvin Kitten Director of Ballet West II

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Katherine Lawrence Rex Tilton

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Caroline Arnold* Hadriel Diniz Logan Martin Kazlyn Nielsen Gabrielle Salvatto Madeleine Scott* Elizabeth Weldon

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PRESENTS

THE NIJINSKY REVOLUTION AFTERNOON OF A FAUN CHOREOGRAPHY JEROME ROBBINS MUSIC CLAUDE-ACHILLE DEBUSSY -INTERMISSION-

GAMES CHOREOGRAPHY HELEN PICKETT MUSIC CLAUDE-ACHILLE DEBUSSY -INTERMISSION-

THE RITE OF SPRING CHOREOGRAPHY NICOLO FONTE MUSIC IGOR STRAVINSKY

FEATURING THE BALLET WEST ORCHESTRA, CONDUCTED BY MUSIC DIRECTOR TARA SIMONCIC ASSOCIATE MUSIC DIRECTOR JARED OAKS

The performance lasts approximately 1 hour and 45 minutes, with two intermissions.

The Nijinsky Revolution | 2015–2016 season

F ROM T H E A RT I S T IC DI R E CTOR Welcome to The Nijinsky Revolution, Vaslav Nijinsky was considered the greatest male dancer of the early 20th Century. His leaps were legendary—defying gravity in ways that ballet audiences had never seen before. His characterizations were complex and multi-faceted. And his whole persona was shrouded in mystery and glamour, making him an idol and “superstar” of his era. Born of Polish descent to dancer parents in Kiev in 1889, Nijinsky studied ballet at the Imperial Ballet School in St. Petersburg, Russia. By all accounts he was a lazy and distracted student who succeeded solely on his amazing natural abilities. Nijinsky began his dancing career with the Mariinsky Theater premiering in many of the great classics. In 1909 he traveled to Paris with the impresario Sergei Diaghilev as the leading male dancer of Diaghilev’s newly formed Les Ballets Russes a company that combined untried and avant guarde composers, artists, and choreography and became the toast of Paris. Nijinsky excited and inspired audiences with his astounding technique and performances. Under Diaghilev’s instruction, he would also choreograph several unusual and, at times, alarming works for the Parisian audiences of the late Belle Epoche. He stopped dancing around 1920 and it is said, in the murky history of his later years, he descended into madness, and died in a sanatorium in 1950. Nijinsky’s work was revolutionary. It changed the way the world viewed ballet and influenced countless choreographers into the future. Creating only four ballets – L’Apres Midi d’un Faune (1912); Jeux (1913)— both to the music of Claude Debussy; Le Sacre du Printemps (1913)—Igor Stravinsky; Till Eulenspiegel (1916)—Richard Straus, - Nijinsky’s works created a sensation and riots due to their controversial nature and decidedly un-balletic movement quality. Nijinsky was looking to redefine ballet and in doing so he turned it on its head. His approach was angular, earthbound, and flat footed—the antitheses of our fluid and graceful art form. He chose scenarios that were unheard of for ballet in the early 20th Century—Greek friezes, pagan rituals, and chance encounters with sexual overtones. His motives were not solely to shock, he was trying to tell the world that ballet could and should be about anything. Like paintings and music, the possibilities were limitless. As a choreographer, however, Nijinsky’s actual steps and movement were ultimately limited (a few years later his sister Bronislava, the greater choreographer, was able to meld fascinating ballet steps and scenarios to her brother’s unorthodox inventions), but Nijinsky’s vision and approach paved the way for today’s modern dance and contemporary ballet influencing countless choreographers from George Balanchine to Frederick Ashton, Martha Graham to Twyla Tharp. In putting together this program, The Nijinsky Revolution, I wanted to explore what current or later choreographers would do with the same music and the same basic premises that Nijinsky used in his. In effect how this new work revolutionized Nijinsky’s revolutions.

F ROM T H E A RT I S T IC DI R E CTOR Jerome Robbins’ 1953 Afternoon of a Faun is admittedly not a new work. Robbins created it fifty years after the premiere of the Nijinsky original and it is now more than fifty years old itself. But Robbins’ version to the beloved Debussy score is a masterpiece that is considered by many to have surpassed the original. In Nijinsky’s 1912 version the action revolves around a mythical Greek creature half man, half deer as he rests languorously by a pool of water. He is interrupted by a group of nymphs and he becomes attracted to their leader. The Faun and the Nymph dance together and she departs, leaving behind her scarf for him to remember her by and fantasize about. The whole work is presented in a series of two-dimensional poses as if they were living friezes on the side of a Greek vase. There is a hypnotic simplicity to the Nijinsky ballet that puts one in a reverie. In Robbins’ retelling he sets the action in a sun-drenched ballet studio of billowing white silk where a young man is revealed lounging on the floor. He dances by himself and is interrupted by a ballerina who enters the studio to do her exercises. They dance together, constantly looking out to the audience, and it soon becomes apparent that we, the audience, are the mirror, the forth wall of this ballet studio. It is an idea so simple in its concept it appears inevitable but marks the genius of Jerome Robbins’ who captures the mood and quality of the Nijinsky original—the lazy sensuality, the romanticism, and the preening self indulgence of the characters, while completely reimagining the approach. In its own right, Robbins’ work is equally revolutionary as it invites us, the audience, to consciously become aware of dancers perspective and the confines of our space as performers. Nijinsky’s 1913 Jeux was, in my opinion, a troubled work that never quite reached the potential of the complex and remarkable Debussy score written for the ballet. Originally envisioned by Diaghilev himself, he asked Nijinsky to choreograph an illicit rendezvous between three people in the Parisian Gardens, Les Bois du Bologne. It seems as if the ballet was designed to shock. Indeed when Debussy was given the libretto he initially balked until Diaghilev upped his fee. In the original Jeux, Nijinsky took this premise and placed it in the woods just outside a tennis court. A tennis ball rolls out onto the stage and one by one a young man and two women appear in search of their lost ball. As the ballet continues the threesome become more and more entangled until it is clear that they are all sexually attracted to one another and they depart together. There is a slightly sinister and voyeuristic feel about the work, but by all accounts, audiences of the day seemed unfazed and Jeux quickly fell into obscurity - overshadowed by the scandals of the overtly sexual aspects of “Faune” and earth shattering distortions of “Le Sacre”. Having worked on a rather unsuccessful recreation of the original Jeux a number of years ago, I remained fascinated by the complex and lush score. I was intrigued by the libretto and wondered what 21st century audiences would make of the ballet’s provocative premise. Two years ago, I had been contemplating a modern day retelling of Jeux precisely when two things fell into my lap. First, The Joyce Theater approached Ballet West with an offer to appear in New York and include a new commission that would be underwritten by The Nureyev Foundation. And second, a very generous offer by the Utah Symphony and their Music Director Thierry Fisher, to collaborate on a new work. It was Thierry who suggested Jeux. He adored the music and wanted the Symphony to play it. When he proposed this, I shyly asked him if he was aware of the risqué libretto of the ballet and he assured me that he was. This gave me strength to move forward with, what I regarded as a social anthropological experiment. I immediately knew which choreographer to approach—Helen Pickett. Helen had created

The Nijinsky Revolution | 2015–2016 season

F ROM T H E A RT I S T IC DI R E CTOR a beautiful ballet on Ballet West, But Never Doubt I Love, and she has had great success in more narrative works around the world. She and I discussed where we wanted to go with the work and she decided to place the ballet in modern day New York. She adjusted the libretto to have the three characters work together in an office and their flirtation and ultimate get together would build out of their friendship and knowledge of one another as people. The new Games is an exploration of the games people play and it follows the dips and dives of Debussy’s tricky score with fluid transitions and theatrics. Games has had the luxury of time. Helen has been able to see it on stage and rethink aspects, so now as we make our Janet Quinney Lawson Capitol Theater debut with the ballet, it is a new and again revolutionary work in its own right. In 2013, for the 100th anniversary of Nijinsky’s and Starvinsky’s ground-breaking and riot-inducing ballet Le Sacre du Printemps, I commissioned Ballet West’s Resident Choreographer, Nicolo Fonte, to create a new version to this powerful and now revered Stravinsky score. The Nijinsky/ Stravinsky original was, from what we have ascertained, a pagan ritual that depicted the sacrifice of a woman to ensure the success of the harvest and the continuation of a healthy community. In spectacular colored costumes, the dancing was marked by heavy, flat footed, “turned–in” stomping. While visually arresting it did remain two dimensional. Its extreme distortions and the overwhelming drive of the music became too much for the Paris ballet-goers of 1913 and the premiere caused a fury in France. Nicolo takes a completely different direction with his Rite of Spring. He sets the action in a strange and timeless world that could be prehistoric or a post-apocalyptic future. There is no formalized libretto; Nicolo takes his cues completely from the music, however, in and between the intense dancing from the large cast there is a young boy who seems to be searching for something, reaching to different women. At the end of the ballet a woman grabs the boy and they dance, center stage, to a startling and surprise ending. There are many different possible interpretations for this, the action of this new “Rite” but I see it as expressing the idea that the soul of a child finds its mother. Nicolo’s ballet is ultimately life-affirming in a primordial way and subsequently also revolutionizing the ideas brought forth in the original ballet. Now more than 100 years later, it is hard for us to imagine the impact that Nijinsky’s ballets had on the audiences of the time. He certainly had some of the greatest pieces of music from the early 20th Century to work with, and the libretti of these works were audacious to say the least but, like countless composers, visual artists, and leaders in any discipline, Nijinsky helped to usher in the future of ballet and dance. In many cases the pupils have surpassed the teacher, but it’s fascinating to consider how alive our art form remains in the 21st century. This is what Nijinsky was all about. This is what The Nijinsky Revolution is all about. As always I am grateful for your patronage. I hope you enjoy the performance!

Adam Sklute

F ROM TH E E X ECU TI V E DIR ECTOR From our sold-out Minneapolis tour in September, to the just-completed World Premiere of Beauty and the Beast, Ballet West’s 2015-16 Season has experienced a litany of successes. The Company had a recordbreaking run of The Nutcracker during its 60th Anniversary last December, and we seated more patrons at Beauty and the Beast than to any other Family Series production since its formal introduction. In February, Ballet West hosted Youth American Grand Prix, the world’s largest ballet competition. It was the first time YAGP was presented in partnership with a major ballet company, and we were honored to showcase our Academy dancers, many of whom placed and will compete at the finals later this month at The Brooklyn Academy of Music in New York. Also early this year, we were thrilled to announce the George S. and Dolores Doré Eccles Foundation awarded a generous grant to enrich and enhance the physical production of Willam Christensen’s beloved ballet, The Nutcracker. Work on the project is well underway with sketches and diagrams being submitted weekly from both John Wayne Cook, Scenic Designer, and David Heuvel, Costume Production Manager. Artistic Director Adam Sklute is incorporating some spectacular effects that ‘Mr. C’ originally imagined, but did not have the technology or funding to accomplish during his lifetime. The first performance of the re-imagined production will premiere during the 2017 holiday season. This means that this upcoming Farewell Season of the current physical production of The Nutcracker will be very special. Tickets will go on sale in the fall. The season’s progression has now brought us to The Nijinsky Revolution, a triple bill with three bold, beautiful, and thought-provoking ballets that many have anticipated all year. Jerome Robbins’ spellbinding Afternoon of a Faun promises to be beautiful, mysterious, and dream-like. Helen Pickett, award-winning American choreographer, presents the unabashedly candid Games. Finally, back by overwhelming demand, the program closes with the powerful physicality of Resident Choreographer Nicolo Fonte’s critically-accliamed, The Rite of Spring. Each piece is unique and demonstrates the diversity and capability of our Company. I’m rewarded every day to work in this field, to be surrounded by a dedicated, passionate, and enthusiastic team. Our shared success as a team is, in all reality, thanks to you: our loyal Members, Patrons and donors. Thank you for continuing to be a part of the Ballet West Family. Sincerely,

Scott Altman Executive Director

The Nijinsky Revolution | 2015–2016 season

CASTING

AFTERNOON OF A FAUN CHOREOGRAPHY: Jerome Robbins MUSIC: Claude-Achille Debussy-Prelude à L'Après-Midid'un Faune STAGING: Bart Cook COSTUME DESIGN: Irene Sharaff SCENERY AND ORIGINAL LIGHTING: Jean Rosenthal LIGHTING RECREATION: Les Dickert

Debussy’s music, Prelude à L’Après-midi d’un Faune, was composed between 1892 and 1894. It was inspired by a poem of Mallarmé’s which was begun in 1865, supposedly for the stage, the final version of which appeared in 1876. The poem describes the reveries of a faun around a real or imagined encounter with nymphs. In 1912 Nijinsky presented his famous ballet, drawing his ideas from both the music and the poem, among other sources. This pas de deux, choreographed by Jerome Robbins, is a variation on these themes.

4/15, 4/20, 4/22, 4/23 EVE

EMILY ADAMS

ADRIAN FRY

4/16, 4/21, 4/23 MAT

BECKANNE SISK

BEAU PEARSON

Performed by permission of The Robbins Rights Trust

Costume Designs Courtesy of Planned Parenthood of New York WORLD PREMIERE: The New York Ballet, May 14, 1953, City Center of Music and Drama, New York BALLET WEST PREMIERE: February 23, 2002, Cultural Olympiad, Capitol Theatre, Salt Lake City, UT

CASTING

GAMES CHOREOGRAPHY: Helen Pickett MUSIC: Claude-Achille Debussy-Jeux, a poème dansé COSTUME DESIGN: Sandra Woodall SCENIC DESIGN: Michael Andrew Currey ORIGINAL LIGHTING: Nicholas Cavallaro LIGHTING RECREATION: Les Dickert

4/15, 4/20, 4/22, 4/23 EVE

ALLISON DEBONA, CHRISTOPHER RUUD, AROLYN WILLIAMS

4/16, 4/21, 4/23 MAT

EMILY ADAMS, KATLYN ADDISON, ADRIAN FRY Commissioned by Ballet West and Utah Symphony|Utah Opera and through a generous grant by The Rudolf Nureyer Foundation.

Women's clothes for Games provided by Candace Shoemaker from her Petunia line. Clothes altered by David Heuvel in collaboration with costume designer Sandra Woodall.

WORLD PREMIERE: Ballet West, March 25, 2015 Joyce Theatre, New York City, NY

The Nijinsky Revolution | 2015–2016 season

CASTING

THE RITE OF SPRING CHOREOGRAPHY: Nicolo Fonte MUSIC: Igor Stravinsky COSTUME DESIGN: David Heuvel SCENERY AND ORIGINAL LIGHTING: Michael Mazzola LIGHTING RECREATION: Les Dickert

The Rite of Spring has emphatically marked its place in the history of 20th century art. Both choreography and music, conceived in tandem, tell the story of a primitive culture’s rite of choosing a maiden to be sacrificed. The score by Stravinsky is considered a masterpiece on its own terms and a complete game changer in modern orchestral music. The original choreography by Nijinsky was seen as shockingly unconventional and raw that it caused the audience at its premiere to reach riot level disapproval. So why choreograph a 21st century version? I was not interested in exploring the same, or for that matter, any other storyline. Instead, I simply decided to focus on the music. There is something liberating in hearing music as if for the first time and allowing it to elicit a visceral response in your body. Initially I wanted to strip this version of all literal narrative content and dive into the rhythmical structure of the score. Yet the inherent ritualistic nature of this music resonated deep in my soul, making it difficult to ignore it’s dramatic content altogether. Ultimately, my Rite of Spring is an episodic uncovering of basic, primal, and instinctual desires that were triggered from images that arose in me from the power of the music. That was enough of a reason for me.

CASTING

4/15, 4/20, 4/22, 4/23 EVE

HENRY WINN* BECKANNE SISK & CHASE O’CONNELL

KATHERINE LAWRENCE & BEAU PEARSON

AROLYN WILLIAMS CHRISTOPHER RUUD CHRISTOPHER SELLARS ALLISON DEBONA REX TILTON KATLYN ADDISON, LINDSAY BOND, KATIE CRITCHLOW, TYLER GUM, ALEXANDER MACFARLAN, OLIVER OGUMA, SAYAKA OHTAKI, RONALD TILTON, ELIZABETH WELDON *Student of the Frederick Quinney Lawson Ballet West Academy 4/16, 4/21, 4/23 MAT

HENRY WINN* SAYAKA OHTAKI & ADRIAN FRY

EMILY ADAMS & RONALD TILTON

KATIE CRITCHLOW JOSHUA WHITEHEAD

JORDAN VEIT

JACQUELINE STRAUGHAN TREVOR NAUMAN PAIGE ADAMS, HADRIEL DINIZ, JENNA RAE HERRERA, LUCAS HORNS, CHELSEA KEEFER, LOGAN MARTIN, OLIVER OGUMA, GABRIELLE SALVATTO, JAMIE LYNN SCHULTZ *Student of the Frederick Quinney Lawson Ballet West Academy WORLD PREMIERE: Ballet West, April 11, 2014, Janet Quinney Lawson Capitol Theatre, Salt Lake City

The Nijinsky Revolution | 2015–2016 season

LEADERSHIP

Adam Sklute ARTISTIC DIRECTOR, BALLET WEST & BALLET WEST ACADEMY

Since 2007, Adam Sklute has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting Company premieres, increased touring and public exposure, and greater focus on Ballet West Academy and Ballet West II. Under Sklute’s leadership Ballet West has toured extensively, appearing three times at Washington DC’s Kennedy Center for the Performing Arts to sold out audiences; a weeklong engagement at New York City’s Joyce Theater; Chicago’s Auditorium Theater with two separate programs; twice at New York City Center’s Fall for Dance Festival; and twice at the Chicago Dancing Festival. The Company has also appeared at Wolf Trap National Park for the Performing Arts, The Laguna Dance Festival, Aspen, CO, Dallas, TX, twice in Las Vegas, NV, Minneapolis, MN, and Victoria, BC. In 2009, Ballet West graced the cover of Dance Magazine for the first time in 25 years and again was on the cover in 2013. Under Sklute, the Company has garnered numerous reviews and articles in such publications as The New York Times, The Washington Post, Dance Magazine, Ballet Review, and Pointe to name a few. Ballet West was the subject of the BBC Worldwide Production’s docu-drama television series Breaking Pointe which aired for two seasons on The CW channel. Sklute has introduced Ballet West audiences to such renowned contemporary choreographers as Nicolo Fonte, Jiri Kylián, Mark Morris, and Twyla Tharp, among others, all while expanding the company’s Balanchine repertoire and adding early 20th century Diaghilev-era masterpieces. In addition to reintroducing lost elements of Christensen’s production of The Nutcracker and reconstructing his The Firebird, Sklute conceived and produced his own new versions of Swan Lake, The Sleeping Beauty and Giselle. Sklute has created wildly successful annual programmatic additions to the Season, including a Family Series and Innovations programs. All in all, in his eight years as Artistic Director, Sklute has introduced over thirty new works and nearly forty world premieres to Ballet West. A native of Berkeley, California, Sklute began dancing at the age of 16. His early training was at the Oakland Ballet and San Francisco Ballet schools. After only two years of formal study Sklute became one of the last two artists personally chosen by Robert Joffrey for The Joffrey Ballet. He danced with The Joffrey from 1985 to 2000 and then rose through the ranks to Associate Director in 2005. He became Artistic Director for Ballet West in 2007. Sklute has served on the boards of Chicago’s Dance for Life, Salt Lake Community College, School of the Arts Advisory Board; and the Salt Lake County Cultural

LEADERSHIP

Facilities Master Plan Advisory Board. He currently serves on the Board of the Gerald Arpino/Robert Joffrey Foundation. A finalist judge and international representative for numerous ballet competitions including the Youth America Grand Prix, Los Angeles’ Spotlight Awards, The International Ballet Competition, The Japan Grand Prix, and an adjudicator for the American College Dance Festival Association, Sklute was listed as one of the 25 Movers and Shakers of the Utah Arts Scene in 2007. In 2014 he was named one of Utah’s Enlightened 50 and he received the Utah National Guard’s Bronze Minuteman Award for outstanding service to Utah and the nation.

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The Nijinsky Revolution | 2015–2016 season

LEADERSHIP

Scott Altman BALLET WEST EXECUTIVE DIRECTOR THE ELIZABETH SOLOMON EXECUTIVE DIRECTOR CHAIR

Scott Altman joined Ballet West as Executive Director in 2013, bringing with him nearly three decades of experience in nonprofit and performing arts administration. A respected industry leader, Altman has worked most of his career to advance the arts through entrepreneurial growth, fiscal sustainability, and by maximizing organizational achievements. The Company is enjoying a true renaissance, unique for an organization that is in its 52nd year. In the last two years, under Altman, Ballet West has witnessed a 21 percent growth in ticket sales, vastly expanded touring schedule, robust growth in donor development, and a renewed and energized Board of Directors. In that time, Altman has been a guardian of the fiscal health of the organization, balancing the operational budget while establishing a robust cash reserve. Most recently, he facilitated a watershed campaign, the 12-month long “Million Dollar Challenge,” which completely eliminated $2.2 million in operational debt; the first time the Company had achieved the eradication of operational debt in 33 years. Under Altman’s skilled leadership, Ballet West Academy has also experienced phenomenal expansion. The attendance of the school has grown 75 percent, as well as the physical footprint, with three new satellite locations. Upon his arrival at Ballet West, Altman helped negotiate financing and oversaw the construction of the Jessie Eccles Quinney Ballet Centre, which was completed in December of 2014. This beautiful new 55,000 square foot home for Ballet West, which is LEED-certified, provides space for studios, costume and administrative space, and is a beacon to the arts community in Utah, and beyond. Previous to Ballet West, Altman was the General Director of Phoenix-based Arizona Opera where, under his leadership, the company experienced unprecedented patron growth, expanded audience development, and achieved financial stability by launching – and completing – an $8.5 million capital campaign. Altman also oversaw the design and construction of a spectacular new Opera Center in central Phoenix, which incorporated administrative, performance, production, education, and community space. Recently, Altman attended Stanford University’s Executive Program for Nonprofit Leaders, an elite certificate program for nonprofit administrators. And just this month, Altman was selected by Utah Business magazine as CEO of the Year, a prestigious award that identifies and honors executives in Utah. He is also the recipient of the New Jersey State Council on the Arts Citation of Excellence Awards for 2007, 2008, and 2009. Professional activities include, among many others, serving as Regional and District Adjudicator for

LEADERSHIP

the Metropolitan Opera National Council, The University of Arizona Presidents Competition, and the Dallas Opera Competition. Since moving to Salt Lake City, Altman has embedded himself in the community, and is a member of the Salt Lake Rotary, Salt Lake Chamber of Commerce, Utah Nonprofits Association, and is a founder of the Ballet West Ballers, the official softball team of the Company. Prior to his roles in administration, Altman had a successful 20-year career as a professional singer and performed 37 opera roles internationally. Along his path to administration, he was also an adjunct professor of opera at Princeton University. Altman completed his Masters of Music degree at Manhattan School of Music in New York after receiving a Bachelor of Fine Arts degree from the State University College at Purchase in Purchase, New York.

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The Nijinsky Revolution | 2015â&#x20AC;&#x201C;2016 season

A RT I S T IC S TA F F

Pamela Robinson Harris PRINCIPAL BALLET MISTRESS

Pamela Robinson Harris has served as Ballet Mistress for Ballet West for over 15 years as well as the Company’s Interim Artistic Director from 2006-2007. Her career began with the Cleveland Ballet, followed by the State of Alabama Ballet in 1982 and Ballet Mississippi in 1984. Pamela joined Ballet West in 1985.

Jane Victorine Wood BALLET MISTRESS

Born in Washington D.C., Jane received her early training at the Washington School of Ballet. Jane joined Ballet West in 1979, rising to the rank of Principal Dancer. She holds a B.F.A. in ballet from the University of Utah and has taught at Florida State University. Jane joined the Ballet West Artistic Staff in 2011.

Bruce Caldwell BALLET MASTER/COMPANY ARCHIVIST

Bruce Caldwell began his ballet career in 1961 in the children’s roles of Willam Christensen’s The Nutcracker. He joined Ballet West as an apprentice in 1968 and later became a Principal Dancer in 1972. Caldwell was appointed to his present position of Ballet Master in 1997 and assumed the additional role of Company Archivist in 2007.

A R T I S T I C S TA F F

Heather Thackeray ASSISTANT TO THE ARTISTIC DIRECTOR

Prior to her appointment as Assistant to the Artistic Director, Adam Sklute, Heather enjoyed a 20-year career as a dancer with Ballet West. Heather holds a Bachelor of Fine Arts degree from The University of Utah. She is a well-respected teacher, assisting in company rehearsals and overseeing the childrenâ&#x20AC;&#x2122;s roles in Ballet West productions.

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The Nijinsky Revolution | 2015â&#x20AC;&#x201C;2016 season

P R O D U C T I O N S TA F F

Michael Andrew Currey VICE PRESIDENT OF ARTISTIC AND PRODUCTION OPERATIONS SCENIC DESIGNER, GAMES

In a 25-plus year career in theatre, Michael Andrew Currey has served in production leadership roles at The Joffrey Ballet, New York City Opera, Chicago Children’s Theatre, Maine State Music Theatre, San Diego Opera, Pittsburgh Opera, Moonlight Amphitheatre, Bucks County Playhouse, San Diego Civic Light Opera, and others. Michael can also be seen in Robert Altman’s film “The Company,” in which he plays the stage manager.

Michael McCulloch PRODUCTION STAGE MANAGER

Michael McCulloch graduated from The University of Utah with a degree in Theatre Production and Design. He has worked for numerous Utah dance and theatre companies including Utah Opera, Promised Valley Playhouse, and Odyssey Dance Theatre. Michael has been a member of Actors Equity Association and IATSE Local 99 (Stagehands) for over 25 years.

David Heuvel DIRECTOR OF COSTUME PRODUCTION

David Heuvel has been associated with Ballet West since 1979. Apart from his work for Ballet West, he has designed and built costumes nationally and internationally, including Ballet Du Nord (France), Singapore Ballet, Washington Ballet, Carolina Ballet, North Carolina School of the Arts, Atlanta Ballet and Richmond Ballet.

become a member Play a leading role at Ballet West, one of America's finest ballet companies. Plus, as a thank you for your generosity, you'll enjoy a Dancer Pages wide array of exciting benefits, including:

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2015â&#x20AC;&#x201C;2016 season

P R I N C I PA L ART I S T S

Emily Adams

Katherine Lawrence

joined ballet west ii 2005 joined ballet west 2007

joined ballet west 2004

Dancer Pages

Christopher Ruud

Beckanne Sisk

joined ballet west 1997

joined ballet west ii 2010 joined ballet west 2011

Rex Tilton

Arolyn Williams

joined ballet west 2008

joined ballet west ii 2004 joined ballet west 2006

FIRST SOLOISTS

SOLOISTS

Allison DeBona

Adrian Fry

Chase O’Connell

joined ballet west 2007

joined ballet west 2010

joined ballet west ii 2012 joined ballet west 2013

Dancer Pages

Sayaka Ohtaki

Beau Pearson

joined ballet west 2010

joined ballet west 2007

Christopher Sellars

Jacqueline Straughan

joined ballet west ii 2004 joined ballet west 2006

joined ballet west 2006

2015–2016 season

DEMI-SOLOISTS

Katlyn Addison

Katie Critchlow

joined ballet west 2011

joined ballet west 2006

Dancer Pages

Lindsay Bond

Tyler Gum

joined ballet west ii 2008 joined ballet west 2009

joined ballet west ii 2009 joined ballet west 2010

Jenna Rae Herrera

Alexander MacFarlan

joined ballet west ii 2007 joined ballet west 2010

joined ballet west ii 2007 joined ballet west 2009

AR T I S T S

Paige Adams

Caroline Arnold

Kimberly Ballard

Laurel Benson

joined ballet west ii 2011 joined ballet west 2013

supplemental dancer 2015

joined ballet west ii 2011 joined ballet west 2013

joined ballet west ii 2014 joined ballet west 2015

Dancer Pages

Hadriel Diniz

Lucas Horns

Chelsea Keefer

Logan Martin

joined ballet west ii 2013 joined ballet west 2015

joined ballet west 2015

joined ballet west ii 2012 joined ballet west 2014

Amber Miller

Trevor Naumann

Kazlyn Nielsen

Oliver Oguma

supplemental dancer 2015

joined ballet west ii 2009 joined ballet west 2011

joined ballet west ii 2012 joined ballet west 2014

joined ballet west ii 2014 joined ballet west 2015

joined ballet west 2015

2015â&#x20AC;&#x201C;2016 season

AR T I S T S

Jordan Richardson

Gabrielle Salvatto

Jamie Lynn Schultz

Anisa Scott

joined ballet west 2011

joined ballet west 2014

joined ballet west ii 2009 joined ballet west 2011

joined ballet west ii 2014 joined ballet west 2015

Dancer Pages

Madeleine Scott

Ronald Tilton

Jordan Veit

Elizabeth Weldon

supplemental dancer 2015

joined ballet west ii 2010 joined ballet west 2012

joined ballet west ii 2012 joined ballet west 2013

joined ballet west 2010

Joshua Whitehead joined ballet west ii 2010 joined ballet west 2012

BALLET WEST II

Flora Baltz

Silas Campos

Luis Capetillo

Isabelle Chang

joined ballet west ii 2015

joined ballet west ii 2014

joined ballet west ii 2015

Dancer Pages

Kyle Davis

Olivia Gusti

Enrico Hipolito

Jazmine Hurley

joined ballet west ii 2015

joined ballet west ii 2014

Brittany Rand

Joshua Shutkind

Kristina Weimer

Zeek Wright

joined ballet west ii 2015

2015â&#x20AC;&#x201C;2016 season

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If you want the best ballet instruction in the state, you go to the Ballet West Academy. Why would you go anywhere else? mariana harper (mother of elsa, agePages 9) Dancer

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M U S IC S TA F F Tara Simoncic MUSIC DIRECTOR, PRINCIPAL CONDUCTOR

Equally at home with all genres, Ms. Simoncic recently conducted performances of Don Giovanni in Trieste at the Piccolo Festival del Friuli Venezia Giulia (Italy), The Barber of Seville with Slovenian National Opera Ballet Theatre (Maribor), and a symphonic concert at the International Music Festival in Maribor, Slovenia. She has worked with the American Ballet Theatre, Central Pennsylvania Youth Ballet, Rioult Dance Theatre Company, the Martha Graham Dance Company, the Chuvash State Opera Ballet Theatre (Russia), and the Slovenia National Opera Ballet Theatre. Ms. Simoncic is a frequent guest conductor with the Louisville Ballet. Ms. Simoncic holds the post of Conductor for the Greenwich Symphony’s Young People’s Concerts Series (Connecticut) and Conductor of the Flexible Orchestra, a contemporary music ensemble based in New York City where she is able to champion new works specifically written for the ensemble each season. She earned a Bachelor of Music degree in Trumpet Performance from the New England Conservatory, a Master of Music degree in Orchestral Conducting from Northwestern University, and received a full scholarship to study at the Manhattan School of Music where she holds a Professional Studies Diploma in Orchestral Conducting.

Jared Oaks ASSOCIATE MUSIC DIRECTOR, PRINCIPAL PIANIST

Jared Oaks, a native of Tacoma, Washington, is Associate Music Director of Ballet West. Since joining the company in 2008, Jared has conducted numerous performances at the Capitol Theatre and Kingsbury Hall, the Kennedy Center, Chicago’s Auditorium Theatre, the Wortham Theater in Houston, and the Northrop Auditorium in Minneapolis. Beyond his substantial conducting and rehearsal schedule, Jared has played for ballet classes at the Royal Danish Ballet, Balettakademien Stockholm, Houston Ballet, Pacific Northwest Ballet Summer Intensive, Burklyn Ballet Theatre, and the Barlow Arts Conservatory. In addition to studies with Ballet West Music Director Emeritus Terence Kern, his chief teachers and mentors include Richard Anderson, Ronald Staheli, Rosalind Hall, Duane Hulbert, and Marjorie Skreen-Dickerson. An avid researcher, particularly engaged in Scandinavian and Utah music history, Jared is a fellow of the American-Scandinavian Foundation and co-founder of the non-profit Composer Discovery Initiative.

The Nijinsky Revolution | 2015–2016 season

A F T E R N O O N O F A FAU N Jerome Robbins CHOREOGRAPHER, AFTERNOON OF A FAUN

Jerome Robbins is world renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies and television. His Broadway shows include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam, and Fiddler on the Roof. His last Broadway production in 1989, Jerome Robbins’ Broadway, won six Tony Awards including best musical and best director. Among the more than 60 ballets he created are Fancy Free, Afternoon of a Faun, The Concert, Dances At a Gathering, In the Night, In G Major, Other Dances, Glass Pieces and Ives, Songs, which are in the repertories of New York City Ballet and other major dance companies throughout the world. His last ballets include A Suite of Dances created for Mikhail Baryshnikov (1994), 2 & 3 Part Inventions (1994), West Side Story Suite (1995) and Brandenburg(1996). In addition to two Academy Awards for the film West Side Story, Mr. Robbins has received four Tony Awards, five Donaldson Awards, two Emmy Awards, the Screen Directors’ Guild Award, and the New York Drama Critics Circle Award. Mr. Robbins was a 1981 Kennedy Center Honors Recipient and was awarded the French Chevalier dans l’Ordre National de la Legion d’Honneur. Mr. Robbins died in 1998.

A F T E R N O O N O F A FAU N Bart Cook STAGER, AFTERNOON OF A FAUN

Bart Cook became a Principal Dancer with New York City Ballet in 1979. He worked extensively with Jerome Robbins, Associate Artistic Director of NYCB and prolific choreographer. Bart was named Assistant Ballet Master to Robbins in 1980 and served in that capacity until 1993. While still at New York City Ballet, Bart began to choreograph at Balanchine’s urging. His works for The School of American Ballet and the New York City Ballet Education Department included Seven by Five, Saint–Saens; Three Preludes, Gershwin; La Italiana in Algeri, Rossini; and Rondo, Mozart. He has been a “repetiteur” for the George Balanchine Trust and the Robbins Rights Trust for more than 20 years, teaching the choreographers’ ballets to many companies in the U.S. and abroad, including: The Royal Ballet, The Paris Opera Ballet, San Francisco Ballet, The Dance Theater of Harlem, and others.

Claude-Achille Debussy MUSIC, AFTERNOON OF A FAUN AND GAMES

Claude-Achille Debussy was the creator and leading exponent of French musical impressionism. In 1873, Debussy entered the Paris Conservatory, where he studied piano with Antoine Francois Marmontel and composition with Ernest Guiraud. From 1887 on, Debussy confined his activity to composition. He enjoyed the company of the leading impressionist poets and painters who gathered at the home of the poet Stéphane Mallarmé. Their influence is felt in Dubussy’s first important orchestral work, Prelude to The Afternoon of a Faun (1892-94), inspired by Mallarmé’s poem, L’Après-midi d’un Faune. This work established the style of impressionist music and initiated Debussy’s most productive period, which lasted nearly 20 years.

The Nijinsky Revolution | 2015–2016 season

GAMES Helen Pickett CHOREOGRAPHER, GAMES

Helen Pickett, the Resident Choreographer for Atlanta Ballet, was born in San Diego, California. She studied dance at San Francisco Ballet. 2015 marked 10 years for Helen as a choreographer. During this time she created over 30 ballets in the U.S. and Europe. Camino Real, which premiered in 2015, was Helen’s first full-length ballet. Critic, Manning Harris, wrote that Camino Real would “become a legend in the dance world.” Helen will choreograph for the Lyric Opera in 2016, and collaborate with Jeff Beal, composer of House of Cards, on new choreography, in the same year. Her commissions for 2017 and 2018 include, Scottish Ballet, Pennsylvania Ballet, Oregon Ballet Theatre and Tulsa Ballet. In addition to Helen’s contemporary ballet choreography, she has collaborated, as a choreographer, coach and actress with installation video artists and filmmakers, including Eve Sussman, Toni Dove and Laurie Simmons. She danced with Ballet Frankfurt, director, William Forsythe for 11 years, and performed with the New York theater company Wooster Group for five years. Helen was nominated for the Isadora Duncan Dance Award in 2013, and was named Best Choreographer of Atlanta in 2014 and 2015. She is the producer and creator of the workshop, Choreographic Essentials. In 2006, Dance Europe published Helen’s article, Considering Cezanne. In 2012, Emory University published her writing for the Vulnerability and the Human Condition Initiative, director Martha Fineman, that appeared on the Emory University School of Law website. Helen earned her Masters of Fine Arts in 2011 from Hollins University. www.helenpickett.com

THE RITE OF SPRING Nicolo Fonte CHOREOGRAPHER, THE RITE OF SPRING

Choreographer Nicolo Fonte has created over 40 new works for dance companies spanning the globe, garnering praise and generating excitement for his daring and theatrical approach to dance. The Australian Ballet, Pennsylvania Ballet and The Dutch National Ballet, among many others, all have works of his in their repertoire. Whether made to Ravel’s brash Bolero or the quiet intricacy of a Bach violin piece, Fonte ballets have common ground: “The choreography is inventive, creating expressive original shapes built on an undercurrent of implicit human relationships” (Foyer/ Dance Europe). “What impresses the most is that his choreography is obviously the result of a personal reflexion - distinctly and unmistakably Fonte, proof of a rare quality” (Michel Odin / Danse). Well-known to Salt Lake City audiences for a stunning roster of works including The Immeasurable Cadences Within, Bolero, Presto, Almost Tango and The Rite of Spring, Fonte is recognized throughout the world as a choreographer equally comfortable with classical and contemporary dance forms. Mr. Fonte has been the Resident Choreographer for Ballet West since the 2012 / 2013 season and is excitedly looking forward to future collaborations for years to come.

Igor Stravinsky MUSIC, THE RITE OF SPRING

Born in Russia, Igor Stravinsky (1882-1971) did not discover his musical talent until he enrolled in law school. There, under the influence of Nikolai Rimsky-Korsakov, Stravinsky soon found the limelight in composing for Ballet Russes: Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). The latter work caused a celebrated scandal at its first performance and remains one of the best-known and most influential pieces of 20th century music. Stravinsky drew inspiration from a wide range of music, including contemporary artist Picasso, jazz movements in the United States, and a continuous interest in baroque and classical pieces. The restless, “spiky” rhythms and sharp, pungent harmonies run through Stravinksy’s work like an indelible musical fingerprint. These elements of his style, and the versatile ways in which he used them help to explain his status as one of the 20th century’s greatest composers.

The Nijinsky Revolution | 2015–2016 season

LIGHTING Les Dickert LIGHTING RE-CREATION

Mr. Dickert has worked with numerous major international dance venues, including Edinburgh International Festival; Sadler’s Wells; The Royal Ballets of Denmark, Flanders, England and Holland; Bayerisches Staatsballet; Berlin Staatsoper Unter den Lenden; National Ballet of Canada; Australian Ballet; Milan La Scala Ballet; Teatro Argentina; and the Izmir Dance Festival. In the United States, he has designed for Boston, Tulsa, Portland, Pennsylvania, Kansas City, Westchester and Miami City Ballets; Jacob’s Pillow; Kennedy Center; Brooklyn Academy of Music; among many others. As past resident designer of the White Oak Dance Project, he collaborated with artists such as Mikhail Baryshnikov, Lucinda Childs, Mark Morris, Trisha Brown, Yvonne Rainer, and Steve Paxton. Mr. Dickert has designed for a number of regional theaters in the USA, including Triad Stage, GeVa Theater, Shakespeare and Company, Syracuse Stage, Great Lakes Theater Festival, Idaho Shakespeare, Milwaukee Shakespeare, Adirondack Theater Festival, and Portland Stage. He has lectured at Yale and Cornell Universities, Ithaca and Connecticut Colleges, and the Juilliard Institute. Mr. Dickert is a graduate of the Yale School of Drama.

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BA LL ET W E ST ORCH E ST R A Ken Hodges, ORCHESTRA MANAGER 1ST VIOLIN

BASS

TRUMPET

Aubrey Woods Concertmaster Emily Day-Shumway Associate Concertmaster Marcel Bowman Katherine Kunz Kathryn Langr Nathan Mueller Martha Thompson Peggy Wheelwright

Ben Henderson Principal Nathan Lutz Lola Plumb Kevin Swan

Kyra Sovronsky Acting Principal Robert Brown Sara Marchetti Lisa Verzella

FLUTE/PICCOLO

TROMBONE

Jane Wadsworth Principal Christina Castelanos Jeannine Goekeritz Sally Humphreys

Steven Hunter Acting Principal Neil Hendriksen Josh Holder

2ND VIOLIN Krista Utrilla Principal Ruth Ann Godfrey Acting Associate Principal Ann Cox Melissa Draper Andrea Hughes Gail Picha VIOLA Michael Palumbo Acting Principal Candace Wagner Acting Associate Principal Emily Brown Paula Cho Lynn Rilling CELLO Ellen Bridger Principal Warren Mueller Associate Principal Robin Dunn Cassie Olson Monika Rosborough-Bowman

OBOE/ ENGLISH HORN Susan Swidnicki Principal Nicole Marriott Bonnie Schroeder Justin Torres CLARINET/BASS CLARINET Erin Voellinger Principal Henry Caceres David Feller Scott Harris BASSOON/CONTRA BASSOON Brian Hicks Principal Christopher Egbert Brian Peterson HORN Laurence Lowe Principal Nathan Basinger Steve Park Brian Blanchard

Don Basinger, ORCHESTRA MANAGER EMERITUS

TUBA Michael Mccawley Principal TIMPANI Michael Sammons Acting Principal PERCUSSION Heath Wolf Principal Ken Hodges Douglas Wolf HARP Janet Peterson Principal Tamara Oswald CELESTA Vedrana Subotic

M E DIC A L PROV I DE R S

We are thankful for all the medical professionals who are committed to helping our dancers perform their best and stay injury-free.

Salt Lake Regional Medical Providers Dr. Jeremy Wimmer Dr. Andrew Cooper Kevin Semans, ATC Nutritionist from the US Olympic Ski and Snowboard Team, Allen Tran

I N D I V I D UA L D O N O R S Founder’s Circle and Heritage Club Patrons play a leading role in supporting Ballet West.

Founder's Circle Mr Christensen and Mrs. Wallace ($25,000 - $50,000+) Barbara Barrington Jones Peggy Bergmann Judy Brady and Drew W. Browning Difiore Family Paul and Cheryl Huntsman

Barbara Levy Kipper Peter and Catherine Meldrum John and Marcia Price Family Foundation Keith and Nancy Rattie

Theodore Schmidt Beano Solomon Jim and Krista Sorenson Anonymous

Heritage Club Archivist and Director ($10,000 - $24,999) Vilija Avizonis and Greg McComas Marie and Kevin Brown James and Barbara Clark Sue J. Ellis Alan and Jeanne Hall Sheryl and Bruce Lefavi Angela Martindale and Michael Snow

Dan Miller John and Andrea Miller Anthony and Jessica Mirable Katharine W. Lamb Pete and Janet Richardson Bryan and Erin Riggsbee Richard Ross

Katherine Scott Liz and Jonathan Slager Audra Sorenson Stanford and Dixie Stoddard Sue and Walker Wallace Julia S. Watkins Carole Wood and Darrell Hensleigh

Ballet Mistress and Choreographer ($2,500 - $9,999) Scott and Lisa Altman Margaret Anderson Stephen Anderson and Merribeth Habegger-Anderson Petras and Liuda Avizonis Bonnie Jean Beesley Alene Bentley Blank Family Foundation Carol Browning Céline Browning Rete and Rikki Browning Carol Carter E. Lindsay and Carla Carlisle William and Patricia W. Child Carol Christ Cecile and Hal Christiansen William and Melissa Connelly Hu Ding Spencer F. and Cleone P. Eccles Family Foundation

Erik and Uzo Erlingsson Deborah B. and Edward Felt Ron and Shelley Hansen Stephanie and Tim Harpst Scott Huntsman Gordon Irving Tina Jensen Conrad and Anne Jenson Jeanne Kimball Catherine Parrish Lake Jon and Helle Le Rette Willis McCree and John Fromer Marilyn Neilson Dr. Pamela Parkinson and Joshua Scoby Richard and Lois Peterson Jason and Anne Marie Portnoy Brian and Janae Powell Lee Quinney The Rickman Family

Ellen and Chris Rossi Jerry and Linda Rowley Teresa Silcox Adam Sklute and Christopher Renstrom Todd Smith Audra Sorenson George H. and Tamie P. Speciale Jennifer Speers Sue and Jack Stahl Cindy and Blake Strong Bill and Stacey Sweet-Taber Barbara Tanner Rick and Chris Veit Roy Vincent Brad and Linda Walton Mike and Debra Washburn Marelynn and Edward Zipser

John Bogart and Carol Mone Ginny Bostrom and Ralph Ashton Brian Burka and Jerry Hussong Alexis Carr Kristel B. Carter Rebecca Marriott Champion Amalia Cochran Charles and Susan Critchlow Jonathan Crossett and Pascale E. de Rozario Christopher D’Addario Peter Dejonge and Susan Johnson

John Eckert Sissy Eichwald Patti Eylar and Charlie Gardner Michael Fife John H. and Joan B. Firmage Karen L. Freed Mary Ann and James Gardner David Keith Garside Marla M. Gault Dee Gauss Ann and Rick Gold David and Sandylee Griswold

Ballet Master ($1,000 - $2,499) Bradley Allen John and Marilyn Alleman Patrica and Steve Anderson Lucio Assis Carol Baer Marcy Barlow Govert Bassett Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Sharon Bertelsen Mary Bird and Lance Wood

I N D I V I D UA L D O N O R S John and Ilauna Gurr Sandy Haughey Wyatt Hepworth Cindy and Howard Hochhauser Connie Holbrook Mark and Wendi Holland Julie Hopkins Karen Horne Larry and Tina Howard Robert and Dixie Huefner David and Linda Irvine Gordon Irving Johann Jacobs and David Heuvel Brent Johnson Marilyn and Chester Johnson G. Frank and Pamela Joklik Howard A. and Lou Ann B. Jorgensen John Karls Carol and Guy Kroesche Rose Kuo and Larry Gross James R. Kruse and Mary Jo Smith

Katherine Probert Labrum Tony and Roxanne Christensen Lazzara David E. and Helane B. Leta David and Donna Lyon Rachele McCarthey and Brock Vandecamp Thomas and Mary McCarthey Marjorie and Thomas Mclaughlin Sheri P. Morgan Nicole and Peter Mouskondis Leslie Murdock Scott and JoAnn Narus Oren and Liz Nelson Scott Nichols Linda S. Pembroke Diana and Joel Peterson Ray Pickup Jeanie Pollack Jeanne Potucek Victoria Jane Ream

Gary and Joann Rieben N. Leone Rogers Margaret P. Sargent Ben and Lael Selznick Dr. Mark and Linda Scholl Robert Schumacker Laura Scott Aharon Shulimson and Julie Terry John Sklute Katherine Smith Nancy and Robert Sparrer Diana Major Spencer Amy Wadsworth and David Richardson Cynthia Washington Susan Warshaw Mark Weisbender Bill and Betty Weldon Jacquelyn Wentz Michelle and Todd Wolfenbarger Anonymous

*Bold indicates the donor has given for more than ten years.

Above recognizes major donors who gave gifts prior to March 8, 2016

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The Nijinsky Revolution | 2015â&#x20AC;&#x201C;2016 season

S P O N S O R E D DA N C E R S Ballet West’s Founder’s Circle Patrons are proud to sponsor the following artists: Sponsor: Bruce Bastian

Sponsor: Peggy Bergmann

Sponsor: Kent and Martha DiFiore

Chase O’Connell

Katlyn Addison

Christopher Sellars

Sponsor: Stephanie and Tim Harpst

Sponsor: Huntsman Foundation

Sponsor: Pete and Cathie Meldrum

Jordan Veit

Sayaka Ohtaki

Arolyn Williams

Sponsor: Ambassador John and Marcia Price

Sponsor: James Lee Sorenson Family Foundation

Sponsor: Judy Brady and Drew Browning

SOLOIST

CORPS ARTIST

Adrian Fry

FIRST SOLOIST

Beckanne Sisk

FIRST SOLOIST

PRINCIPAL ARTIST

Rex Tilton

FIRST SOLOIST

PRINCIPAL ARTIST

Sponsor: Beano Solomon

Sponsor: Theodore Schmidt

Sponsor: Anonymous

Jenna Rae Herrera

Alexander MacFarlan

Allison DeBona

DEMI-SOLIST

DEMI-SOLOIST

FIRST SOLOIST

INNOVATIONS

2016

may 20–28

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F O U N D A T I O N , G O V E R N M E N T, A N D C O R P O R AT E S U P P O RT

$100,000 + George S. and Dolores Doré Eccles Foundation James Lee Sorenson Family Foundation Frederick Q. Lawson Foundation

Peter & Catherine Meldrum Foundation S.J. and Jessie E. Quinney Foundation Salt Lake County Zoo, Arts and Parks Program

Utah State Legislative Funding through the Utah State Office of Education Professional outreach Program in the Schools

Marriner S. Eccles Foundation National Endowment for the Arts Nuvestack* Questar Salt Lake Regional Medical Center* Shubert Foundation

Sorenson Legacy Foundation Utah Toyota Dealers Utah Arts and Museums with funding from the State of Utah and the National Endowment for the Arts Zions Bank

Dr. Jeremy Wimmer with Elite Chiropractic Center* Every Blooming Thing* Holiday Inn Express* Larry H. & Gail Miller Family Foundation Lawrence T. & Janet T. Dee Foundation O.C. Tanner Print Media Ray and Tye Noorda Foundation Rocky Mountain Power Foundation

Simmons Family Foundation Taubman/City Creek Center* The New Yorker* Trolley Square Ventures* Utah Digital Newspapers Webb AV* Wells Fargo Bank Foundation Wheeler Foundation

High West Distillery* Intermountain Health Care Joanne L. Shrontz Family Foundation Jones Waldo Mountain America Credit Union Myriad Genetics, Inc. R. Harold Burton Foundation

Reagan Outdoor Advertising Ruth’s Chris Steakhouse* Salt Lake City Arts Council Union Pacific Foundation University of Utah Health Sciences* Visit Salt Lake*

Katherine W. Dumke & Ezekiel R. Dumke Jr. Foundation Este Pizzeria, Park City* Holland & Hart LLP Industrial Supply Company* John and Dora Lang Foundation J Wongs* Little Ceasars* Mark Miller Subaru Merrick Bank Mills Publishing Molina Health Care Nicholas & Company* Nordstrom Cares Foundation Overstock.com*

Panache Park City Promontory Foundation The Robin’s Nest * The Rose Shop* Salt Lake Brewing Company* Salt Lake Mailing and Printing* Southern Wine & Spirits* Snow, Christensen & Martineau The Summit Group Swire Coca-Cola Tanner, LLC US Bank Bancorp Foundation Whole Foods Workers Compensation Fund

$25,000- $99,999 B.W. Bastian Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation Jerome Robbins Foundation Huntsman Family Foundation LeCroissant Catering and Events*

$10,000 - $24,999 Beaver Creek Foundation Florence J. Gillmor Foundation C. Comstock Clayton Foundation Cyprus Credit Union Durham, Jones & Pinegar Eleve Dancewear Goldman Sachs Hotel Monaco & Bambara Restaurant* Richard K. & Shirley S. Hemingway Foundation

$5,000 - $9,999 Chevron Church of Jesus Christ of Latter-day Saints Foundation Discovery Gateway* The Front Climbing Club* Epic Brewery * Henry & Leslie Eskuche Foundation

$1,000 - $4,999 3M Health Information Services 5 Wives Vodka* Bistro 222* Blank Family Foundation Bohemian Brewery* The Boeing Company Buca Di Beppo* Caitland Photography Cigna Foundation Cuisine Unlimited* Culinary Crafts* Delta Airlines* Diamond Rental* Dr. Mina Vaughan Foundation Dorsey & Whitney LLP

*indicates in-kind contributions

The Nijinsky Revolution | 2015–2016 season

I N M E MO RY A N D I N HO N O R gifts made in memory In Memory of Ann Parr Peggy Beach

In Memory of Rowena Howe Carol Baer

In Memory of Barbara Whitecar Martha Dahl

In Memory of Joyce Ellsworth Rapp Sue J. Ellis Barbara and Spencer P. Felt

In Memory of Carol Anne Price Keithley & Ruthe Price Their Loving Family

In Memory of Judee Ross Richard Ross

In Memory of Connie Rudy Linda Forsey

In Memory of Kathleen Reese Jolynn Reese

In Memory of David Bergmann Peggy Bergmann

In Memory of Louis Godfrey Bene Arnold

In Memory of Dr. Joseph Holden Lisa C. Linsalata

In Memory of Mary Ruth Abbott Bene Arnold

In Memory of Franklin L. Child Jack & Kathy Newton

In Memory of Megan Leigh Brown Marie Brown

In Memory of John Hart Frances and Tom Akimoto Bene Arnold D.N. â&#x20AC;&#x2DC;Nickâ&#x20AC;&#x2122; & Penny Rose Carole and Darrell Wood

In Memory of Merribeth Anderson Bene Arnold Julie & Rob Fillmore Roxanne and Tony Lazzara

In Memory of Terence Kern Katherine Lawrence and Aaron Orlowski Bene Arnold Carole Wood In Memory of Tomm Ruud Linda Forsey In Memory of Margot Shott Ballet West In Memory of Dr. Clifford Reusch Ballet West

gifts made in honor In Honor of Adam Sklute Madeleine Plonsker

In Honor of Elizabeth Weldon Eileen Weldon Smith

In Honor of Sayaka Ohtaki Analecia Dumke

In Honor of Alex Fenech Inger Fenech

In Honor of Peter Christie Inger Fenech

In Honor of Brian Powell Wolters Kluwer

In Honor of Richard Cannon Family Judith Cannon

In Honor of Vilija Avizonis and Greg McComas Beth and Randy McComas

ENCORE SOCIETY We honor and applaud those individuals who have made such a meaningful commitment to the future of Ballet West by including a bequest or other deferred gift for Ballet West in their estate planning. Berenice J. Bradshaw (1903-1996) Val A. Browning (1895-1994) Kenneth P. Burbidge, Jr. (1930-1998) Dr. Robert H. (1920-2007) and Marianne Harding Burgoyne Mary Elizabeth Colton (1952-2014) The Zorka D. Divich Trust Dolores Dore Eccles (1902-1994)

Virginia Fackrell Estate (1918-2004) Dr. Esther S. Gross (1908-2001) and Dr. George D. Gross (1907-2000) Merribeth Habegger-Anderson (2015) Melissa A. Herbst (1972-2014) Geoffrey C. Hughes (1919-1991) Dennis L. Kay Trust Barry L. Keller (1937-2002)

Cynthia Lampropoulos Family Trust Margot Shott (1931-2015) Oma W. Wagstaff (1901-2000) Mrs. Glen Walker Wallace (1898-1988) Grace Jackson (1920-2000) Gladys Walz (1910-1995) Afton B. Whitbeck (1914-2008)

Encore Society membership is open to all individuals who have made an estate provision for Ballet West or a planned or deferred gift. For more information or if you have made a planned gift to Ballet West, please contact us at (801) 869-6934.

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B O A R D O F T R U S T E E S 2 0 1 5 -2 0 1 6 Board of Trustees Officers:

Board of Trustees at Large:

Board Chair Brian E. Powell* Senior Vice President Zion’s Bank

Dr. Vilija Avizonis* Radiation Oncologist Barbara Barrington Jones President/CEO Barbara Barrington Jones Family Foundation

Immediate Past Chair Victor S. Rickman* Senior Vice President UBS Financial

Frances Battle Principal Nibley Park School (K-8)

Executive Director Scott Altman* Ballet West

Alene Bentley Customer & Community Manager Rocky Mountain Power

Artistic Director Adam Sklute* Ballet West Chair Elect John C. Miller* Assistant General Manager Mark Miller Toyota Interim Vice Chair Victor S. Rickman* Senior Vice President UBS Financial Treasurer Scott M. Huntsman* CEO Martin Garage Doors Secretary Barbara Clark* Community Volunteer

Sharon M. Bertelsen Attorney at Law Ballard Spahr LLP Ron Hansen‡ Chairman of the Board Nuvestack

Lee Quinney Sr. Account Administrator Ghost Media Inc. Bryan Riggsbee CFO Myriad Genetics Inc. Liz Slager Real Estate Agent Coldwell Banker Residential Audra Sorenson Community Volunteer Krista Sorenson Director Sorenson Impact Foundation Cindy Strong Community Volunteer Debra Washburn Community Volunteer Julia Watkins Community Volunteer

Cheryl Huntsman Community Volunteer

Michelle Wolfenbarger Community Volunteer

Catherine Parrish Lake Partner Stoel Rives LLP

*Executive Committee ‡Leave of Absence

Sheryl R. Lefavi Consultant Lefavi Wealth Mgmt. Angela Martindale CEO Unlimited Lifestyle Inc. Dan P. Miller* President Mills Publishing Anthony F. Mirabile* Managing Director, Global Operations Goldman Sachs Jeanne Potucek* Community Volunteer

National Advisory Board: Carol Christ Dr. Erik Erlingsson Barbara Levy Kipper Peter D. Meldrum 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 Brian Valentine

The Nijinsky Revolution | 2015–2016 season

BA L L E T W E S T S TA F F Scott Altman, Executive Director

The Elizabeth Solomon Executive Director Chair

Adam Sklute, Artistic Director

LEADERSHIP MARKETING Lisa Hoyt Academy Administrator Lisa Jensen

Rob Wood Company Class Pianist

Ken Dodson Vice President of Finance and Administration

Michael McCulloch Production Stage Manager

Michael Andrew Currey Vice President of Artistic and Production Operations

Tom Michel Vice President of Development and Marketing Peter Christie Director of Education and Outreach Peter LeBreton Merz Director of Frederick Quinney Lawson Ballet West Academy Sarah West Director of Development Summer Wilson Director of Business Expansion and Company Management Felicia Cowan Associate Director of Human Resources Joshua Jones Associate Director of Press and Social Media Sara M. K. Neal Associate Director of Marketing Chris Yoakam Associate Director of Finance ADMINISTRATIVE AND FINANCE

Jennifer Bailey Accounting Manager Shazell Ellerbeck Assistant to the Executive Director and Board Liaison Sarah Taylor Assistant Company Manager Robin L. Holt Accounts Payable Coordinator

Retail Sales and Boutique Manager Marissa Hodges Marketing Coordinator

Whitney Shaw Coordinator of Creative Services TICKETING AND SUBSCRIBER SERVICES

Jack E Stahl Manager of Technology and Ticketing Jenée Brenning Coordinator of Patron Services Jane Harris Lead Patron Advisor Amy Falls W. Powell Smith Gretchen Huff Patron Advisors EDUCATION & OUTREACH

Dana Rossi Education Associate / Assistant Director, I CAN DO Heather Fryxell Associate Director Adaptive Dance Temria Airmet Nikki Bybee Shelly Cordova Leigh Cornu Lauren Devall Jennifer Heighton Stacia Hullinger-Barton Lisa Johnson Audrey Olsen Moisés Próspero Alison Russell Anne Marie Smith Joni Taylor Natalie Whitney Educators

FREDERICK QUINNEY LAWSON BALLET WEST DEVELOPMENT ACADEMY Laura O’Neill Jennie Creer-King Manager of Special Events Principal, Barbara Barrington Jyn Van Putten Jones Family Foundation Manager of Grants, Ballet West Academy at Foundations and Membership Thanksgiving Point Mickell Smith Peggy Dolkas Manager of Individual Giving Heather Fryxell Emily Callaway Calvin Kitten Development Associate Jeffrey Rogers Cati Snarr Kelsie Rank Principal Faculty Development Associate

Nikki Bybee Bruce Caldwell Ginger Christopher Natalie Desch Lauren Devall Wilson Domingues Lindsay Folkman Lisa Hoyt Cynthia Ridler Anne Marie Smith Heather Thackeray Jessica Thompson Natalie Whitney Faculty

Maggie Wright-Tesch U of U/BW Joint Trainee Liason Alex Macfarlane Office Manager Melissa Scheetz Academy Parent and Student Services Coordinator Mariana Harper Lindsay Preece Cara Scott Receptionists ARTISTIC STAFF

Pamela Robinson Harris Principal Ballet Mistress Jane Victorine Wood Ballet Mistress Bruce Caldwell Ballet Master/ Company Archivist Nicolo Fonte Resident Choreographer Heather Thackeray Assistant to the Artistic Director Calvin Kitten Director of Ballet West II Peggy Dolkas Associate Director of Ballet West II Cati Snarr Children’s Ballet Mistress MUSIC

Tara Simoncic Music Director Jared Oaks Associate Music Director, Principal Pianist Grigoriy Ayrapetov Principal Class/Associate Rehearsal Pianist

Jim Kuemmerle Academy Pianist TECHNICAL PRODUCTION

Amanda Craig Stage Manager Robert Clifford Head Carpenter/ Technical Director Josh Belka Assistant Carpenter Bruce Fugit Head Electrician James K. Larsen Assistant Electrician/ Lighting Coordinator Cory A. Thorell Properties Master Heidi Belka Pyrotechnician Jacquelin Bryce Wardrobe Supervisor Barbara Lambert Wardrobe Assistant Yancey J. Quick Wig Master John Cook Scenic Artist Members of IATSE Local 99 The Run of Show Crew COSTUME PRODUCTION

David Heuvel Director of Costume Production Cindy Farrimond Costume Shop Manager Barbara Arcolio Head Stitcher Mary Kay Feicht Vicki Goslin Raincrow Stitcher 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.

The Nijinsky Revolution | 2015–2016 season

HOUS E RU L E S 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. •• Any use of cameras and recording equipment in the Theatre, which is not authorized by the management, is strictly prohibited. •• No smoking, eating or drinking is permitted in the auditorium. •• Lost articles may be claimed at security.

•• Anyone expecting emergency calls is urged to leave their seat locations and beepers with the house manager. •• Please silence all electronic time pieces and cell phones for the period of the performance. EMERGENCY EVACUATION INFORMATION In the event of an emergency, please REMAIN SEATED and listen to information given by management and ushers. ASSISTIVE LISTENING DEVICES 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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THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166 MARKET STREET GRILL DOWNTOWN 48

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning. The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

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

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