The Shakespeare Suite

first soloist allison debona & principal artist rex tilton photo by beau pearson

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The

Shakespeare Suite with Return to a Strange Land and Summerspace April 13–21, 2018

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CONTENTS

Sponsors

6

The Company

8

Board of Directors 2017-2018

13

The Shakespeare Suite

15

From the Artistic Director

16

From the Executive Director

18

Casting

20

About Ballet West

28

Dancers

29

Ballet West Orchestra

37

In Focus: The Shakespeare Suite

38

Profiles

40

In Focus: The Shakespeare Suite

47

Foundation, Government, and Corporate Support

49

Individual Donors

50

In Memory and In Honor

52

Encore Society

52

Ballet West Staff

59

House Rules

60

Editor: Marissa Hodges; Publisher: Mills Publishing, Inc.; President: Dan Miller; Office Administrator: Cynthia Bell Snow; Art Director/Production Manager: Jackie Medina; Graphic Designers: Ken Magleby, Patrick Witmer; Advertising Representatives: Paula Bell, Karen Malen, Dan Miller, Paul Nicholas; Office Assistant: Jessica Snow; Administrative Assistant: KellieAnn Halvorsen; 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 Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Inquiries concerning advertising should be directed to Mills Publishing, Inc. Copyright 2018. Ballet West, 52 West 200 South, Salt Lake City, Utah 84101.

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The Shakespeare Suite | 2017–2018 season

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SPONSORS the following donors are generously honoring Adam Sklute's 10th Anniversary with Ballet West

janet quinney lawson foundation

george s. and dolores doré eccles foundation

meldrum beano solomon foundation

emma eccles jones foundation

barbara levy kipper and the kipper family foundation

peggy bergmann

season sponsors

performance sponsors FRIDAY, 4/13/2018, 7:30 PM

SATURDAY, 4/14/2018, 7:30 PM

PEGGY BERGMANN

GEORGE S. AND DOLORES DORÉ ECCLES FOUNDATION

OOCL

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FRIDAY, 4/20/2018, 7:30 PM

SATURDAY, 4/21/2018, 2:00 PM

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HUNTSMAN FOUNDATION

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SATURDAY, 4/21/2018, 7:30 PM NUVESTACK OOCL

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WEDNESDAY, 4/18/2018, 7:30 PM

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Adam Sklute, Artistic Director The Willam Christensen Artistic Director Chair Sponsored by Peggy Bergmann

Michael Scolamiero, Executive Director The Elizabeth Solomon Executive Director Chair

principal artists

Emily Adams Adrian Fry Katherine Lawrence

Chase O’Connell Christopher Ruud Beckanne Sisk

Rex Tilton Arolyn Williams

Beau Pearson

Christopher Sellars

Tyler Gum Jenna Rae Herrera

Alexander MacFarlan

Trevor Naumann Gabrielle Salvatto

Jordan Veit Joshua Whitehead

Olivia Gusti Lucas Horns Emily Neale Amber Miller Kazlyn Nielsen Oliver Oguma

Jordan Richardson Joshua Shutkind Anisa Sinteral Ronald Tilton Kristina Weimer Elizabeth Weldon

Noel Jensen Janae Korte Joseph Lynch Jake Preece Ashleigh Richardson

Hannah Sterling Alexandra Terry Victoria Vassos

Pamela Robinson Harris Principal Ballet Mistress

Daniel B. Thompson Director of Production

Tara Simoncic Music Director

Jane Victorine Wood Ballet Mistress

David Heuvel Director of Costume Production

Jared Oaks Associate Music Director

Bruce Caldwell Ballet Master / Archivist

Kimberly Klearman Production Manager

Cristin Carlin Assistant to the Artistic Director

Michael McCulloch Production Stage Manager

Calvin Kitten Director of Ballet West II & Assistant Ballet Master

first soloists

Allison DeBona Sayaka Ohtaki soloists

Katlyn Addison Katie Critchlow demi soloists

Lindsay Bond Chelsea Keefer artists

Paige Adams Dominic Ballard Kimberly Ballard Lillian Casscells Kyle Davis Hadriel Diniz ballet west ii

Stephanie Buesser Jordan DePina Cy Doherty Levi Durie David Huffmire artistic staff

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Peggy Dolkas Associate Director of Ballet West II

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B O A R D O F D I R E C T O R S 2 0 1 7-2 0 1 8 board of directors officers: board chair

John C. Miller* Assistant General Manager Mark Miller Toyota, Downtown immediate past chair

Brian E. Powell* Senior Vice President Zions Bank

Frances Battle Principal Nibley Park School (K-8)

Bryan Riggsbee CFO Myriad Genetics, Inc.

Alene Bentley Customer & Community Manager Rocky Mountain Power

Mark Robbins Owner/Operator Ruth's Chris Steak House, Salt Lake City & Boise

Sharon M. Bertelsen Attorney at Law Ballard Spahr, LLP

artistic director

Adam Sklute* Ballet West

Ron Hansen Chairman of the Board Nuvestack

executive director

Michael Scolamiero* Ballet West

Cheryl Huntsman Community Volunteer

chair elect

Jennifer Malherbe* Owner/Founder bagdujour.com

Angela Martindale* CEO Unlimited Lifestyle, Inc.

Willis McCree Independent Consultant Business & Non-Profit Planning

treasurer

Scott M. Huntsman* CEO Martin Garage Doors

Dan P. Miller President Mills Publishing

secretary

Jennifer Horne* Attorney at Law Holland & Hart, LLP board of directors at large: Stephany Alexander Author & CEO WomanSavers Inc. Dr. Vilija Avizonis* Radiation Oncologist Barbara Barrington Jones President/CEO Barbara Barrington Jones Family Foundation

Anthony F. Mirabile* Managing Director, Global Operations Goldman Sachs

Elizabeth Slager Real Estate Agent Coldwell Banker Residential Krista Sorensen Director Sorensen Impact Foundation Julia S. Watkins 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

Madeleine Plonsker Community Volunteer Jeanne Potucek* Community Volunteer Lee Quinney Sr. Account Administrator Ghost Media Inc. * Executive Committee

The Shakespeare Suite | 2017–2018 season

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PRESENTS

The Shakespeare Suite with Return to a Strange Land and Summerspace RETURN TO A STRANGE LAND CHOREOGRAPHY JIŘÍ KYLIÁN MUSIC LEOŠ JANÁČEK -INTERMISSION-

SUMMERSPACE CHOREOGRAPHY MERCE CUNNINGHAM MUSIC MORTON FELDMAN -INTERMISSION-

THE SHAKESPEARE SUITE CHOREOGRAPHY DAVID BINTLEY MUSIC DUKE ELLINGTON AND BILLY STRAYHORN

FEATURING MEMBERS OF THE BALLET WEST ORCHESTRA, CONDUCTED BY ASSOCIATE MUSIC DIRECTOR JARED OAKS

JANET QUINNEY LAWSON CAPITOL THEATRE SALT LAKE CITY, UTAH

The performance lasts approximately 2 hours, with two intermissions.

The Shakespeare Suite | 2017–2018 season

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F ROM T H E A RT I S T IC DI R E CTOR Welcome, I love ballet and dance. The communicative power of music and movement; how they tell great stories or simply make us feel and think. I love the great classics. Ballets like Swan Lake, The Sleeping Beauty, and The Nutcracker are the backbone of our art form and I will always present them. However, some of my favorite ballets are little gems that have affected me in unexpected ways. All of us have works of art that move us for different reasons and the works on this program are some of my lesser-known personal favorites.

As a culminating program of my 10th Anniversary as Artistic Director of Ballet West, I have chosen to present you these three unique works which take us on a journey from the deeply emotional, into the intellectually stimulating, and finally to joyous fun.

Opening the program is Jiří Kylián’s mysterious and moving Return to a Strange Land. It is a work of enormous power, both emotionally and physically. “Return” was one of Kylián’s very first creations and interestingly one of only two ballets he choreographed on pointe for the women. I love all of Kylián’s work but this one holds a special place in my heart as one of my favorites to dance, for both its extreme physical challenges and its emotional intensity. I hope you will read later in the playbill about the heartbreaking history behind its creation on page 47.

Merce Cunningham’s Summerspace is a work of genius. Cunningham created it in 1958, when he was at the forefront of the avante garde dance scene. Cunningham had his own very special approach to creating, at once supremely collaborative but also isolated in the creative process. Summerspace brings together the great modern artist Robert Rauchenberg’s pointillist multi colored décor and costumes that seem to have life and movement of their own; 20th Century composer Morten Feldman’s hypnotic and dreamlike atonal score; and Cunningham’s own abstract, linear choreography. Each artist worked separately from the other until the ballet was put together on stage. In the same manner, our Ballet West artists have not heard the music until the final stage rehearsals. While this approach is unorthodox, it creates an atmosphere of discovery and spontaneity that make the work so intriguing.

Every performance stays fresh and explorative. Experiencing Summerspace, to me, is like experiencing a great work of modern art in a museum. We may not understand it, but it is infinitely fascinating. Do not try to interpret the work. Instead, let yourself get lost in the movement, the visuals, and the unique relationship to music.

Finally we have British choreographer Sir David Bintley’s delightful and dramatic The Shakespeare Suite. In 1957, the great jazz musician, Duke Ellington produced the record, Such Sweet Thunder, where each movement was based on a different Shakespeare play. In 1999, Bintley took Ellington’s brilliant, whimsical, and intense jazz score and created a ballet, building Shakespeare’s iconic characters within

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each musical section. In pop dress and contemporary settings, Bintley stylishly brings out the humor, the tragedy, and the romance of each play and melds them all together to create a seamless and nuanced whole. I first saw this ballet not long after its premiere and was quite taken by its chic and slick approach to classic themes. I am proud now to make Ballet West the first American company to produce The Shakespeare Suite.

I love all types of art. I will always work to present every ballet we do with absolute adherence to its own stylist details. This is what makes Ballet West special and this is why I love our dancers so much.

I hope you will enjoy this journey through wide and varied repertoire as much as the dancers and I have.

Thank you for your support and patronage over my first 10 years. My work has just begun here and there is so much more I can’t wait to present to you.

With gratitude,

Adam Sklute Artistic Director

Since 2007, Adam Sklute has expanded Ballet West’s outlook, repertoire, and visibility with exciting Company 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.

The Shakespeare Suite | 2017–2018 season

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F ROM TH E E X ECU TI V E DIR ECTOR Nearly eight months ago, I was invited to apply for this job. From the beginning, I was intrigued. Having led some of the best dance companies in the nation, I was familiar with Ballet West: its renowned artistry, the Christensen legacy, I had even found myself jealous years earlier when the Company exploded on national television with Breaking Pointe. Admittedly, I did not know a lot about Salt Lake City, but I am happy to say I have grown to love it here and my respect for Ballet West’s work has only expanded.

What an incredible year to join Ballet West! Carmina Burana thrilled me; The Joyce tour was electrifying; I was delighted by the magic of The Nutcracker; impressed by the precise technique displayed throughout Cinderella; and the recent sold-out tour in St. George showed off our innovative choreographic talent from within the Company.

What I have learned is that Ballet West can do anything.

The Balanchine style, the Ashton style: not any company can execute the specific movement required by these choreographers’ ballets. Yet, Ballet West dancers do it with ease. The Shakespeare Suite is perhaps the most demanding of our programs this season, with the avant-garde movement of Merce Cunningham, the emotional and contemporary work of Kylián, and the character-driven scenes of David Bintley. I know I will leave in awe.

This is world-class art, on a very high level. As we tour to The Joyce, and later this year to Washington D.C.’s Kennedy Center, Utahns can be proud to know that Ballet West is exporting some of the highest caliber of dance in America. But, this kind of art is expensive to produce. An interesting fact: one pair of pointe shoes may cost $100. Sometimes, a dancer may need a new pair every day! Last year, Ballet West bought more than 1,500 pairs of pointe shoes. Typically, ticket sales only cover about a third of the cost of actually mounting a production. As you renew your season subscription this spring, please consider giving back to Ballet West so we may continue to bring world-class ballet to you and our community.

I’m rewarded every day I work in this field, and am 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, subscribers, and donors. Thank you for being a part of the Ballet West family!

Cordially,

Michael Scolamiero Executive Director

Michael Scolamiero recently joined Ballet West 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.

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CASTING RETURN TO A STRANGE LAND PRODUCTION CONCEPT AND CHOREOGRAPHY: Jiří Kylián ASSISTANT TO THE CHOREOGRAPHER: Jeanne Solan MUSIC: Leoš Janáček* DÉCOR AND COSTUME DESIGN: Jiří Kylián LIGHTING DESIGN: Jiří Kylián (original concept) LIGHTING RE-DESIGN: Kees Tjebbes (Lisbon 2006) TECHNICAL ADAPTATION: Hans Boven SOLO PIANIST: Jed Moss This work came about as a result of the sudden death of choreographer John Cranko in June 1973, at the age of forty-six. Jiří Kylián dedicated it to the memory of his teacher and friend. It is a meditation in dance on life and death, on the passage from one being to another, on death as a return to the strange land from which we have come, from which we were born.

CASTS FOR 4/13, 4/18, 4/21 EVE BECKANNE SISK REX TILTON HADRIEL DINIZ EMILY ADAMS CHASE O’CONNELL LUCAS HORNS

CAST FOR 4/14 KATHERINE LAWRENCE CHRISTOPHER SELLARS ALEXANDER MACFARLAN ALLISON DEBONA ADRIAN FRY TYLER GUM

CAST FOR 4/19, 4/21 MAT AROLYN WILLIAMS CHRISTOPHER RUUD JORDAN VEIT ALLISON DEBONA ADRIAN FRY TYLER GUM

CAST FOR 4/20 KATHERINE LAWRENCE CHRISTOPHER SELLARS ALEXANDER MACFARLAN EMILY ADAMS CHASE O'CONNELL LUCAS HORNS

*Sonata ‘Oct. 1, 2905’, On the Overgrown Path, In the Mist WORLD PREMIERE: May 17, 1975, Stuttgart Ballett, Grosses Haus, Stuttgart, Germany BALLET WEST PREMIERE: April 13, 2018, Janet Quinney Lawson Capitol Theatre, Salt Lake City, UT

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PREMIERES SUN. MAY 13, 8PM

CASTING SUMMERSPACE A Lyric Dance

CHOREOGRAPHY: Merce Cunningham MUSIC: Morton Feldman* DÉCOR AND COSTUME DESIGN: Robert Rauschenberg LIGHTING: Aaron Copp DESIGN AND PRODUCTION CONSULTANT: Davison Scandrett STAGING: Banu Ogan

This piece is indicative of Cunningham’s unique collaborative method, in which Feldman composed the score, Rauschenberg designed the décor, and Cunningham choreographed independently from each other. Together, the movement, music and décor give the effect of a balmy, summer day. Dressed in painted leotards, the dancers move about the stage in sudden bursts of speed and suspensions, zigzagging every which way, like flying creatures. The delicate music, at times sounds like bubbles of water rising to the surface, and at others, with a muffled rumble in the bass, like distant thunder.

CAST FOR 4/13, 4/18, 4/20, 4/21 EVE KATLYN ADDISON KATIE CRITCHLOW KYLE DAVIS JENNA RAE HERRERA CHELSEA KEEFER JOSHUA SHUTKIND

CAST FOR 4/14, 4/19, 4/21 MAT KIMBERLY BALLARD EMILY NEALE OLIVER OGUMA GABRIELLE SALVATTO KRISTINA WEIMER JOSHUA WHITEHEAD

*IXION, Published by C.F. Peters Corporation Summerspace by Merce Cunningham © Merce Cunningham Trust. All rights reserved.

WORLD PREMIERE: August 17, 1958, Merce Cunningham Dance Company, American Dance Festival, Connecticut College, New London, CT BALLET WEST PREMIERE: April 13, 2018, Janet Quinney Lawson Capitol Theatre, Salt Lake City, UT

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CASTING THE SHAKESPEARE SUITE PRODUCTION AND CHOREOGRAPHY: David Bintley MUSIC: Duke Ellington and Billy Strayhorn* COSTUMES: Jasper Conran SETS AND LIGHTING: Peter Teigen STAGING: Patricia Tierney

The Shakespeare Suite is choreographer David Bintley's adaptation of Duke Ellington's 1957 jazz album Such Sweet Thunder, a suite of music based on different Shakespeare plays. Each movement takes the essence of some of the bard's most recognizable classic pieces and presents a jazz "riff" on the characters and the situations.

CAST FOR 4/13, 4/18, 4/20, 4/21 EVE Hamlet ALEXANDER MACFARLAN (4/18, 4/20 KYLE DAVIS) Petruchio and Kate CHRISTOPHER SELLARS KATHERINE LAWRENCE Richard III and Lady Anne RONALD TILTON EMILY ADAMS Lady MacBeth and MacBeth ALLISON DEBONA REX TILTON Bottom and Titania TYLER GUM AROLYN WILLIAMS Othello and Desdemona ADRIAN FRY KATIE CRITCHLOW Romeo and Juliet CHASE O’CONNELL BECKANNE SISK Chorus Paige Adams, Dominic Ballard, Kimberly Ballard, Lindsay Bond, Trevor Naumann, Oliver Oguma, Elizabeth Weldon, Joshua Whitehead Casting continued on page 26

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2018 Plays

June 28 to Oct. 13 Henry VI Part One The Merchant of Venice The Merry Wives of Windsor Big River • The Foreigner The Liar • Othello • An Iliad Pearl’s in the House

The

Greater Escape.

800-PLAYTIX • bard.org • #utahshakes

CASTING CAST FOR 4/14, 4/19, 4/21 MAT Hamlet REX TILTON (4/19 ALEXANDER MACFRALAN) Petruchio and Kate HADRIEL DINIZ CHELSEA KEEFER Richard III and Lady Anne TREVOR NAUMANN KATLYN ADDISON Lady MacBeth and MacBeth GABRIELLE SALVATTO CHRISTOPHER RUUD Bottom and Titania JOSHUA WHITEHEAD JENNA RAE HERRERA Othello and Desdemona LUCAS HORNS EMILY NEALE Romeo and Juliet JORDAN VEIT SAYAKA OHTAKI Chorus Dominic Ballard, Kyle Davis, Olivia Gusti, Kazlyn Nielsen, Oliver Oguma, Jordan Richardson, Joshua Shutkind, Kristina Weimer

*Musical selections from the collective works of Duke Ellington and Billy Strayhorn. © Sony ATV The Shakespeare Suite is produced in association with Birmingham Royal Ballet.

The Benesh Movement Notation Score for this ballet was written in 1999 by Patricia Tierney, whilst David Bintley was creating the ballet for Birmingham Royal Ballet, and is the basis of this staging.

WORLD PREMIERE: October 6, 1999, Birmingham Royal Ballet, Birmingham Hippodrome, Birmingham, England.

BALLET WEST PREMIERE: April 13, 2018, Janet Quinney Lawson Capitol Theatre, Salt Lake City, UT

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Soloist Alexander MacFarlan rehearsing the role of Hamlet in The Shakespeare Suite. Photo by Beau Pearson.

Principal Artist Adrian Fry and Soloist Katie Critchlow rehearsing the roles of Othello and Desdemona in The Shakespeare Suite. Photo by Beau Pearson.

The Shakespeare Suite | 2017–2018 season

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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.

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 William Christensen, Founder of Ballet West 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’s 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 40 company members, 13 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 Kåge, 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.

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

sponsored by paul & cheryl huntsman

sponsored by marcia & john price

sponsored by vilija avizonis & greg mccomas

Emily Adams

Adrian Fry

Katherine Lawrence

Newtown, Pennsylvania Joined Ballet West II 2005, joined Ballet West as an Artist 2007, Demi Soloist 2011, Soloist 2013, Principal Artist 2015

Omaha, Nebraska Joined Ballet West as an Artist 2010, Soloist 2012, First Soloist 2014, Principal Artist 2017

Fairfield, Connecticut Joined Ballet West as an Artist 2004, Demi Soloist 2005, Soloist 2007, Principal Artist 2011

sponsored by janet quinney lawson foundation

sponsored by emma eccles jones foundation

sponsored by jim & krista sorenson

Chase O’Connell

Christopher Ruud

Beckanne Sisk

Fredericksburg, Virginia Joined Ballet West II 2012, joined Ballet West as an Artist 2013, Demi Soloist 2014, Soloist 2015, Principal Artist 2016

San Francisco, California Joined Ballet West as an Artist 1998, Soloist 2001, Principal Artist 2004

Longview, Texas Joined Ballet West II 2010, joined Ballet West as an Artist 2011, Demi Soloist 2012, Soloist 2013, Principal Artist 2015

sponsored by judy brady & drew browning

sponsored by peter & catherine meldrum

Rex Tilton

Arolyn Williams

Marcos, California Joined Ballet West as an Artist 2008, First Soloist 2013, Principal Artist 2014

Rowe, Massachusetts Joined Ballet West II 2004, joined Ballet West as an Artist 2006, Demi Soloist 2010, Soloist 2011, Principal Artist 2013

FIRST SOLOISTS

sponsored by john & kristi cumming

sponsored by paul & cheryl huntsman

Allison DeBona

Sayaka Ohtaki

Pittsburgh, Pennsylvania Joined Ballet West as an Artist 2007, Demi Soloist 2011, Soloist 2013, First Soloist 2015

Tokyo, Japan Joined Ballet West as an Artist 2010, Soloist 2013, First Soloist 2015

sponsored by kent & martha difiore

sponsored by jeanne potucek

Beau Pearson

Christopher Sellars

San Francisco, California Joined Ballet West as an Artist 2007, Demi Soloist 2010, Soloist 2011, First Soloist 2013

Huntington Beach, California Joined Ballet West II 2005, joined Ballet West as an Artist 2006, Demi Soloist 2008, Soloist 2010, First Soloist 2013

SOLOISTS

sponsored by peggy bergmann

sponsored by thomas & mary mccarthey

Katlyn Addison

Katie Critchlow

Brampton, Ontario, Canada Joined Ballet West as an Artist 2011, Demi Soloist 2014, Soloist 2016

Cardiff, California Joined Ballet West as an Artist 2006, Demi Soloist 2012, Soloist 2016

sponsored by john & andrea miller

sponsored by beano solomon

Tyler Gum

Jenna Rae Herrera

Calhan, Colorado Joined Ballet West II 2009, joined Ballet West as an Artist 2010, Demi Soloist 2014, Soloist 2016

Ontario, California Joined Ballet West II 2007, joined Ballet West as an Artist 2010, Demi Soloist 2015, Soloist 2016

sponsored by theodore schmidt

Alexander MacFarlan Nashville, Tennessee Joined Ballet West II 2007, joined Ballet West as an Artist 2009, Demi Soloist 2014, Soloist 2016

DEMI SOLOISTS

Lindsay Bond

Chelsea Keefer

Modesto, California Joined Ballet West II 2008, joined Ballet West as an Artist 2009, Demi Soloist 2013

Huntsville, Utah Ballet West Academy/University of Utah Trainee 2010, joined Ballet West as an Artist 2014, Demi Soloist 2017

Trevor Naumann

Gabrielle Salvatto

New York City, New York Joined Ballet West II 2009, joined Ballet West as an Artist 2011, Demi Soloist 2016

Bronx, New York Joined Ballet West as an Artist 2014, Demi Soloist 2017

sponsored by theodore schmidt

Jordan Veit

Joshua Whitehead

Seattle, Washington Joined Ballet West II 2012, joined Ballet West as an Artist 2013, Demi Soloist 2016

Chesapeake, Virginia Ballet West Academy Trainee 2009, joined Ballet West II 2010, joined Ballet West as an Artist 2012, Demi Soloist 2016

A RT I S TS

Paige Adams

Dominic Ballard

Kimberly Ballard

Newtown, Pennsylvania Ballet West Academy Trainee 2010, joined Ballet West II 2011, joined Ballet West 2013

Albury, NSW, Australia Joined Ballet West 2017

San Bernardino, California Ballet West Academy/University of Utah Trainee 2009, joined Ballet West II 2011, joined Ballet West 2013

Lillian Casscells

Kyle Davis

Hadriel Diniz

Washington, D.C. Joined Ballet West 2017

Chicago, Illinois Joined Ballet West II 2015, joined Ballet West 2017

Minasgerais, Brazil Joined Ballet West 2015

Olivia Gusti

Lucas Horns

Emily Neale

Tampa, Florida Ballet West Academy Trainee 2014, joined Ballet West II 2015, joined Ballet West as 2016

Salt Lake City, Utah Ballet West Academy Trainee 2012, joined Ballet West II 2013, joined Ballet West 2015

Acton, Massachusetts Ballet West Academy Trainee 2015, joined Ballet West II 2016, joined Ballet West 2016

A RT I S TS

Amber Miller*

Kazlyn Nielsen

Oliver Oguma

Prosper, Texas Joined Ballet West 2016

Spanish Fork, Utah Joined Ballet West II 2012, joined Ballet West 2014

New York City, New York Joined Ballet West II 2014, joined Ballet West 2015

Jordan Richardson

Joshua Shutkind

Anisa Sinteral

Boulder, Colorado Joined Ballet West 2011

New York City, New York Joined Ballet West II 2015, joined Ballet West 2016

Parker, Colorado Joined Ballet West II 2014, joined Ballet West 2015

Ronald Tilton

Kristina Weimer

Elizabeth Weldon

San Diego, California Joined Ballet West II 2010, joined Ballet West 2012

Princeton, New Jersey Joined Ballet West II 2015, joined Ballet West 2017

Duxbury, Massachusetts Joined Ballet West 2010

*supplemental

BALLET WEST II

Jordan DePina

Cy Doherty

Ridgewood, New Jersey Joined Ballet West II 2016

Seal Beach, California Ballet West Academy Trainee 2016, joined Ballet West II 2017

Raleigh, North Carolina Joined Ballet West II 2017

Levi Durie

David Huffmire

Noel Jensen

Cambridge, Minnesota Joined Ballet West II 2016

Reno, Nevada Ballet West Academy Trainee 2014, joined Ballet West II 2016

Carlsbad, California Ballet West Academy Trainee 2016, joined Ballet West II 2017

Stephanie Buesser

Janae Korte

Joseph Lynch

Jake Preece

Prior Lake, Minnesota Ballet West Academy/University of Utah Trainee 2015, joined Ballet West II 2017

Cumberland, Rhode Island Joined Ballet West II 2017

Vancouver, Canada Joined Ballet West II 2016

BALLET WEST II

Ashleigh Richardson

Hannah Sterling

Prosper, Texas Ballet West Academy Trainee 2015, joined Ballet West II 2017

Philadelphia, Pennsylvania Ballet West Academy/University of Utah Trainee 2014, joined Ballet West II 2016

Alexandra Terry

Victoria Vassos

New Canaan, Connecticut Joined Ballet West II 2016

Arbedo, Switzerland Ballet West Academy Trainee 2016, joined Ballet West II 2017

BA LL ET W E ST ORCH E ST R A Sponsored in part by

Summerspace FLUTE/PICCOLO Alison Olsen Principal Rebecca Chapman Sally Humphreys CLARINET Erin Voellinger Principal HORN Laurence Lowe Principal

TRUMPET Kyra Sovronsky Principal TROMBONE Will Kimball Principal PIANO Jed Moss Principal

CELLO Joyce Yang Principal Cassie Olson Associate Principal BASS Lola Plumb Acting Principal

TRUMPETS Reed LeCheminant Joseph Reardon Sara Marchetti Lisa Verzella Dwayne “Bix” Hollenbach TROMBONE Will Kimball Steven Hunter Neil Hendriksen PIANO Jed Moss

DOUBLE BASS Matt Larson DRUMS Heath Wolf TIMPANI Ken Hodges PERCUSSION Douglas Smith Michael Sammons Douglas Wolf VIOLIN Emily Day-Shumway

The Shakespeare Suite WOODWINDS Daron Bradford Clarinet/Alto Sax Ray Smith Clarinet/Alto Sax David Feller Clarinet/Alto Sax/Tenor Sax Brian Booth Tenor Sax Gaylen Smith Bass Clarinet/Baritone Sax

Ken Hodges, ORCHESTRA PERSONNEL MANAGER Don Basinger, ORCHESTRA MANAGER EMERITUS

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IN FOCUS: TH E SH A K E SPE A R E SU IT E secrets of the shakespeare suite

by Amy Falls

The Artists of Ballet West take the stage for The Shakespeare Suite in a sampling of Artistic Director Adam Sklute’s favorite ballets. Alongside David Bintley’s contemporary reimagining of The Bard of Avon’s most famous characters, the triple bill also includes renowned Czech choreographer Jiří Kylián’s Return to a Strange Land and American modern dance pioneer Merce Cunningham’s Summerspace.

Impress your friends and family with your knowledge of The Shakespeare Suite: Digest these 10 fascinating facts before (or after) viewing: 1.) The Shakespeare Suite choreographer David Bintley has been artistic director of the UK’s Birmingham Royal Ballet since 1995, having previously assumed the role of resident choreographer in 1985. In 2001, Bintley was appointed a Commander of the Order of the British Empire for his services to dance.

2.) Bintley’s history with the Birmingham Royal Ballet is long running. He began his career as a dancer with the Sadler’s Wells Theatre Ballet in 1976, which was established as a sister company to what is now the Royal Ballet, and would later become the Birmingham Royal Ballet.

3.) The Shakespeare Suite, choreographed in 1999, features live musicians playing a jazz score by Duke Ellington and Billy Strayhorn. Parts of the score come from Ellington and Strayhorn’s Such Sweet Thunder album, which is itself inspired by the works of Shakespeare. Both Ellington and Strayhorn were Shakespeare aficionados; Strayhorn was even nicknamed “Shakespeare” by his bandmates.

4.) Bintley’s ballets live in company repertoires internationally, though they may be most familiar to British audiences. He has created full-length adaptations of Cinderella, Aladdin, and The Tempest, among others, as well as ballets about more abstract subject matter: endangered species (Still Life at the Penguin Café, 1988) and Einstein’s theory of relativity (E=mc2, 2009). The Shakespeare Suite, perhaps near the middle of this broad spectrum, places well-explored characters from Shakespeare’s plays, each associated with a recognizable narrative, in contemporarily costumed solos and pas de deux on a minimal stage.

5.)

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The Stuttgart Ballet debuted Jiří Kylián’s Return to a Strange Land in 1975, taking it on tour to the Met several years later for an enthusiastically received U.S. premiere.

IN FOCUS: TH E SH A K E SPE A R E SU IT E

6.) Kylián created Return to a Strange Land as a tribute to the late John Cranko, who was Kylián’s colleague, as well as artistic director of the Stuttgart Ballet, until his sudden passing in 1973.

Within this context, there is much to be said for subtext lingering just beneath the ballet’s haunting surface.

7.) The assortment of pieces for solo piano that accompany Return to a Strange Land are by Czech composer Leoš Janáček. Kylián has chosen Janáček’s music for several of his ballets, often taking the titles of Janáček’s compositions as inspiration for his own. If you saw Ballet West perform Kylián’s Overgrown Path in 2015 or his Sinfonietta in 2011, you have heard Janáček’s ethereal melodies.

8.) First unveiled in 1958, Merce Cunningham’s Summerspace may be the program’s oldest work but is far from its least surprising. Cunningham, until his death in 2009, was a pioneer of the avant-garde movement. He began his career performing with the Martha Graham Dance Company, later founding a company in the 1950s to begin exploring his own choreography. His work is now distinguished by its focus on the mechanics of movement without the use of an obvious narrative (notably in stark contrast to the narrative-driven works of Graham, for example).

9.) Cunningham’s legacy is also rooted in his collaborations with artists of other disciplines.

Summerspace is a prime example of this model, with a score by composer Morton Feldman and costumes and scenery by artist Robert Rauschenberg (and created with the assistance of Jasper Johns for their original execution). The multiplicative pattern of pointillist dots that appear on both the costumes and scenery of Summerspace allude to the broad sweep and, at times, cacophony of nature.

10.) Cunningham’s “collaborative” model was not what we may think of as collaboration in the contemporary sense; choreography, music, and costumes were often created separately and then brought together only at the very end, sometimes not until they were seen onstage – thus emphasizing the magic of performance!

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PROF ILE S Jiří Kylián CHOREOGRAPHER, RETURN TO A STRANGE LAND

“I think that our task as choreographers is to search the extremities of our souls,” says Jiří Kylián. Since the early 1970s, the celebrated Czech choreographer has created 100 works – three-quarters of which have been for the Nederlands Dans Theater (NDT). His creations draw inspirations from many different sources, combine elements from diverse art forms, and defy categorization.

First smitten with the magic of circus, young Kylián started his studies as an acrobat. At the age of nine, he began training as a dancer at the Prague National Theatre ballet school. Six years later, in 1962, he was accepted at the Prague Conservatory and, in 1967-68, won a scholarship to London’s Royal Ballet School. There he met the influential choreographer John Cranko, who offered him a contract with Stuttgart Ballet, and encouraged him to pursue his choreographic career.

Kylián left Germany in 1975 to become the Artistic Co-Director of the Nederlands Dans Theater, for which he had earlier created several pieces as guest choreographer. In 1978, following the success of this choreography, Sinfonietta, at the “Festival of Two Worlds” in Charleston, South Carolina, he became NDT’s sole Artistic Director. Symphony of Psalms (also 1978) was the second significant creation of this time. This work had a decisive influence on further development of the company and its international reputation. In the mid-1980s, Kylián’s work became more abstract, and is best represented by the series of his Black and White choreographies. His encounter with the Australian Aboriginals, which took place at that time, also played a decisive tole in his understanding of dance, as an important “corner stone” of our social structure and an inevitable facet of our “artistic horizon.”Kylián stepped down as Artistic Director of NDT in 1999, and became Resident Choreographer until December 2009.

Venerated for his choreographic work for dancers of all age groups, Kylián has received many honors, including the Nijinsky Award in Monaco and the Legion d’Honneur France. In 2008, he was distinguished with one of the highest royal honors, the Medal of the Order of the House of Orange, given to him by Her Majesty Queen Beatrix from the Netherlands. In 2006, he co-created a film, CARMEN, which was choreographed and filmed in a devastated landscape of a surface coalmine in the Czech Republic.

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PROF ILE S Leoš Janáček COMPOSER, RETURN TO A STRANGE LAND

Leoš Janáček, baptised Leo Eugen Janáček (1854 – 1928), was a Czech composer, musical theorist, folklorist, publicist, and teacher. He was inspired by Moravian and other Slavic folk music to create an original, modern musical style.

Until 1895, he devoted himself mainly to folkloristic research and his early musical output was influenced by contemporaries such as Antonín Dvořák. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenůfa, which premiered in 1904 in Brno. The success of Jenůfa (often called the “Moravian national opera”) at Prague in 1916 gave Janáček access to the world’s great opera stages. Janáček’s later works are his most celebrated. They include operas such as Káťa Kabanová, and The Cunning Little Vixen, Sinfonietta, Glagolitic Mass, Rhapsody Taras Bulba, two string quartets, and other chamber works. Along with Antonín Dvořák and Bedřich Smetana, he is considered one of the most important Czech composers.

Jeanne Solan ASSISTANT TO THE CHOREOGRAPHER, RETURN TO A STRANGE LAND

Jeanne Solan, a native of Trenton, danced with Princeton Ballet during her adolescence. Accepted at both Juilliard and the Harkness Ballet aspirant programs, she joined Harkness’ two-year training program, and later Harkness Ballet as a company member in 1968. After dancing with Deutsche Oper Ballet in Berlin as a guest soloist, she went on to dance with Nederlans Dans Theatr in The Hague, Lar Lubovitch Dance Company in New York, and Dennis Wayne’s Dancers in New York. In 1993, she joined Nederlans Dans Theatr III, and in 1996 she was awarded the Golden Theatre Dance Prize for Career Achievement. Since 1988, she has been teaching and staging ballets by Jiří Kylián, Nacho Duato, and other major European choreographers throughout the world. She has staged works for the Stuttgart Ballet, the Batsheva Dance Company, Scapino Ballet, the Spanish National Dance Company, and Zürich Opera House, among many others.

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PROF ILE S Merce Cunningham CHOREOGRAPHER, SUMMERSPACE

Merce Cunningham (1919 – 2009) was a leader of the American avant-garde throughout his seventy-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant experimentation and collaboration with groundbreaking artists from every discipline, Cunningham expanded the frontiers of dance and contemporary visual and performing arts. Cunningham’s lifelong passion for innovation also made him a pioneer in applying new technologies to the arts.

Born in Centralia, Washington on April 16, 1919, Cunningham began his professional dance career at age 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944, he presented his first solo show, and in 1953, he formed the Merce Cunningham Dance Company as a forum to explore his groundbreaking ideas. Together with John Cage, his partner in life and work, Cunningham proposed a number of radical innovations, chief among them being that dance and music may occur in the same time and space, but could be created independently of one another. They also made extensive use of chance procedures, abandoning musical forms, narrative, and other conventional elements of dance composition. For Cunningham, the subject of his dances was always dance itself.

An active choreographer and mentor to the arts world throughout his life, Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts (1990), the MacArthur Fellowship (1985), Japan’s Praemium Imperiale (2005), and the British Laurence Olivier Award (1985).

Always forward-thinking, Cunningham established the Merce Cunningham Trust in 2000 and developed the precedent-setting Legacy Plan prior to his death, to ensure the preservation of his artistic legacy.

Morton Feldman COMPOSER, SUMMERSPACE

Morton Feldman (1926-1987) met John Cage in 1950 and from that time was a prominent member of the circle of musicians associated with him, together the David Tudor, Christian Wolff, and Earle Brown. He was also a professor of music at SUNY Buffalo. He invented new forms of musical notation to allow greater freedom in performance, such as the graphic notations he used in the fifties and sixties. His music was featured in the first Lincoln Center Festival in 1996. Feldman composed two scores for Merce Cunningham: the Solo Variation in 1951 and Ixion, for Summerspace, in 1958.

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PROF ILE S Robert Rauschenberg DÉCOR AND COSTUMES, SUMMERSPACE

Robert Rauschenberg (1925–2008) was born in Port Arthur, Texas in 1925. After serving in the US Navy in World War II, he studied art first at the Kansas City Art Institute and then at the Académie Julian in Paris. He then attended Black Mountain College, where he studied with Josef Albers and formed friendships with John Cage, Merce Cunningham, and David Tudor. With them, he took part in Cage’s Theater Piece No. 1 at Black Mountain in the summer of 1952. His first one-man show was at the Betty Parsons Gallery in 1951. In 1954, he designed his first décor for Cunningham's Minutiae and for the next ten years he was resident designer and sometimes technical director for Merce Cunningham Dance Company. Cunningham works for which Rauschenberg designed décors, costumes, and objects include Suite for Five, Nocturnes, Antic Meet, Summerspace Rune (original version, 1960), Aeon, Story, and Winterbranch. He also began to make performance pieces of his own, as well as collaborating with other choreographers such as Paul Taylor, Viola Farber, Steve Paxton, and Trisha Brown. In 1977, Cunningham, Cage, and Rauschenberg collaborated again on Travelogue. His large painting, Immerce, was made as a backdrop for Cunningham’s Events, and was first seen at the Joyce Theater in May 1964.

Banu Ogan STAGING, SUMMERSPACE

Banu Ogan studied ballet in her hometown of Bloomington, Indiana with Lila Rosen Huse, graduated with a bachelor’s degree in biology from the University of North Carolina at Chapel Hill, and performed with the Merce Cunningham Dance Company from 1993 to 2000, where she originated roles in ten new works and danced at theaters worldwide, including the Palais Garnier, l’Opéra National de Paris, and Teatro La Fenice in Venice. Banu has performed as a freelancer with many choreographers including Boris Charmatz, Pam Tanowitz, and Jonah Bokaer, and has taught technique class and repertory workshops across the United States, Europe and Asia. She has staged Cunningham’s dances for several professional companies and student groups, including Düsseldorf’s Ballett am Rhein, Ballet de l’Opéra de Lyon, the Royal Swedish Ballet, the Dutch National Ballet, Trinity Laban Conservatoire of Music and Dance, New World School for the Arts, Rutgers University, Marymount Manhattan College, and The Juilliard School. Banu served on the faculty of the Merce Cunningham Studio from 1997-2014, Columbia College, Chicago from 2003-2005, The Juilliard School from 2005-2014, Marymount Manhattan College from 2008-2014, and was rehearsal director for Benjamin Millepied’s L.A. Dance Project from 2015-2016.

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PROF ILE S David Bintley CHOREOGRAPHER, THE SHAKESPEARE SUITE

English choreographer David Bintley is Director of Birmingham Royal Ballet. A former dancer, he trained at The Royal Ballet Upper School and graduated into Sadler’s Wells Royal Ballet (now Birmingham Royal Ballet). He was Resident Choreographer of The Royal Ballet from 1986–1993 and took up his Birmingham Royal Ballet post in 1995.

Bintley was born in Huddersfield, United Kingdom. As a dancer, he won renown for roles such as Petrushka, Alain and Widow Simone (La Fille mal gardée) and Stepsister (Cinderella). He choreographed his first professional piece for Sadler’s Wells Royal Ballet, The Outsider, in 1978. Later one-act works include Still Life at the Penguin Café, Flowers of the Forest and Tombeaux (The Royal Ballet), and Carmina Burana, E=mc2 and Faster (Birmingham Royal Ballet). His full-length narrative pieces include Hobson’s Choice (Sadler’s Wells Royal Ballet), Cyrano (The Royal Ballet, and later revised for Birmingham Royal Ballet), Edward II (Stuttgart Ballet) and Beauty and the Beast, Cinderella and The Tempest (Birmingham Royal Ballet). In addition to his Birmingham Royal Ballet role, he was Artistic Director of the National Ballet of Japan from 2010–2014, where he created the full-length works Aladdin and The Prince of the Pagodas.

Bintley’s many awards include a Critics’ Circle Award for Cinderella, and a South Bank Show Dance Award for E=mc2. He was appointed a Commander of the Most Excellent Order of the British Empire (CBE) in 2001.

Patricia Tierney STAGING, THE SHAKESPEARE SUITE

Born in Leicester, England, Patricia Tierney trained at Bush Davies School, Rambert Academy, and studied Benesh Movement Notation at the Benesh Institute London. She joined the Hamburg Ballet as Choreologist under the direction of John Neumeier in 1987, returning to England in 1992 to work as Choreologist at English National Ballet before joining Birmingham Royal Ballet in 1993 as Dance Notator, where her current position is now Benesh Choreologist and Video Archivist.

Using Benesh Movement Notation, she has recorded and assisted in rehearsals of many new ballets and revivals of works across the repertoire, as well as staging several ballets world-wide which have recently included the choreography of Sir Frederick Ashton: Enigma Variations, The Dream; David Bintley: Carmina Burana, E=mc2 , Faster, Still Life at the Penguin Café; and Stanton Welch: Powder, between 2009 and 2017. She also taught the Benesh Movement Notation course ‘Score Reading For Dancers’ to sixthform students of Elmhurst School for Dance, Birmingham.

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PROF ILE S Duke Ellington COMPOSER, THE SHAKESPEARE SUITE

Edward Kennedy Ellington was born in April 1899 in Washington, DC. He was nicknamed ‘Duke’ by a boyhood friend, and the name stuck. Self-taught at the piano, he grew up surrounded by vibrant ragtime music and it was this that first inspired him to compose.

Unsurprisingly, his first works were rags for solo piano. Ellington’s huge output eventually included works in almost every conceivable medium, from solo song to orchestral suites, church music, and a full-length ballet, The River (1974).

He went on to compose some 6,000 works, including Mood Indigo, Caravan, Solitude, Sophisticated Lady, and Such Sweet Thunder (1956), a series of ten Shakespeare portraits and the inspiration behind David Bintley’s ballet, The Shakespeare Suite.

In 1923, he took his band, The Washingtonians, to New York, where they were a huge success. The tour that followed was equally successful and, in 1927, Ellington and his band, now under his own name, took up residence in Harlem’s world-famous Cotton Club. His four years there eventually led him to Hollywood, and the band’s first European tour in 1933.

For almost 30 years, from 1939 until his death in 1967, Billy Strayhorn was a regular collaborator with Ellington. Although he often went uncredited, it was Strayhorn’s idea to adapt Tchaikovsky’s Nutcracker Suite, and he received equal billing with Ellington for it. The Jazz-Nutcracker received its premiere in 1960 and was an instant hit.

At his death in 1974, Ellington was acknowledged as one of the most influential figures in the history of jazz, and one of the greatest jazz pianists, composers, and improvisers that had ever lived.

Billy Strayhorn COMPOSER, THE SHAKESPEARE SUITE

Billy Strayhorn was born in 1915 in Dayton, Ohio. In 1938, he approached Duke Ellington with one of his compositions, Lush Life, and the two worked together from then on. Ellington and Strayhorn became so intertwined musically, it was said neither could distinguish specific contributions to pieces. He died in New York in 1967.

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adam sklute artistic director ballet west

peter lebreton merz director ballet west academy

locations in park city salt lake city thanksgiving point

2015–2016 season balle t training for life | balletwestacademy.org

IN FOCUS: TH E SH A K E SPE A R E SU IT E

Artists of Ballet West. Photo By Beau Pearson.

jiři kylián on return to a strange land This work is directly linked to the tragic and dramatic death of John Cranko, and it is dedicated to him. It was in the summer of 1973, on a flight from the USA back to our home, Stuttgart, after a very successful tour, when John fell seriously ill. We were supposed to make a landing at the Shannon Airport in Ireland (an obligatory stop in order to refuel the aircraft), but the weather was extremely bad, so the airplane had to be diverted to Dublin. This diversion took only half an hour, but that half hour also diverted John Cranko’s fortune. He died in the ambulance, on the way from the airfield to the hospital in Dublin on June 26, 1973. There is much for which I should thank him.

He was very generous in giving me the opportunity to pursue my choreographic ambitions. He made time and space available for us to create. The most wonderful of all was the fact that he enjoyed discussing all kinds of new developments in art with us – important or unimportant – he gave us the opportunity to have memorable fights with him about it all. The arguing had nothing to do with winning or losing, but much more it was an important learning process.

And, I have learned and learned…

One of my dearest memories of Cranko, in fact, is a very simple sentence he said in a documentary dedicated to his “boss,” Walter Erich Schäfer, Intendant of the Württemberg State Theatre at the time.

They entered the rehearsal studio where I rehearsed my first choreography Kommen und Gehen.

Herr Schäfer asked John Cranko, “Do you think that Kylián will become a new Cranko?”

Cranko answered, “No. I hope that he will become Kylián.”

This work is dedicated to him, his legacy, and his memory. Inevitably, the title Return to a Strange Land has a transcendental meaning, but there were many more images on my mind at the time of its creation. One of them was the simple fact that many of us leave the place of our origin, and when we return back to it years later, we only find a “strange land”, a place which we knew before, but do not recognize anymore. The original idea of this work lies in our understanding that human beings are created by a set of circumstances, conditions, and coincidences, which are very much beyond our control. Our body consists of an endless number of particles, whose origin we will never know or understand, because we are collected – god knows where, and god knows by whom – in order to become “us.” We live for a while, and then we fall apart in order to re-enter this “strange land” from which we came. All the particles we consist of will go back to the “land” which should be familiar to us; only, we do not recognize it, because we never consciously knew it.

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MEDICAL P ROV I D E 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 Mallory Berge Head Strong Consulting Kawika Ventura-Smith Allen Tran

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 and above Ancestry George S. and Dolores Doré Eccles Foundation

Huntsman Foundation Janet Quinney Lawson Foundation Meldrum Foundation Salt Lake County Zoo, Arts & Parks

Utah State Board of Education Professional Outreach Programs in the Schools

David Kelby Johnson Memorial Foundation Emma Eccles Jones Foundation The Kahlert Foundation Frederick Q. Lawson Foundation Nuvestack*

OOCL* Rea Charitable Trust The Shubert Foundation Sorenson Legacy Foundation Utah Division of Arts and Museums

Richard K. and Shirley S. Hemingway Foundation Jones Waldo* National Endowment for the Arts The New Yorker* O. C. Tanner Company Park City Community Foundation: The Solomon Fund S. J. and Jessie E. Quinney Foundation

Rocky Mountain Power Foundation Salt Lake Power Yoga* Simmons Family Foundation Summit County Cultural RAP Tax Wells Fargo Dr. Jeremy Wimmer with Elite Chiropractic Center*

Henry W. and Leslie M. Eskuche Foundation Goldman Sachs In The Event* Gaye Marrash Arts Foundation - a Donor Advised Fund of The U.S. Charitable Gift Trust

Promontory Foundation Ruth’s Chris Steak House* Union Pacific Foundation Workers Compensation Fund

Merrick Bank Nicholas and Company* Salt Lake City Arts Council Semnani Family Foundation Silver Summit Event Design* Snow, Christensen & Martineau Foundation Allen Tran, U.S. Ski & Snowboard Team*

U.S. Bank Foundation Utah Hispanic Chamber of Commerce* Kawika Ventura-Smith - Living Through Movement* The Williams Companies Foundation

$25,000 -$99,999 B. W. Bastian Foundation Dominion Energy Marriner S. Eccles Foundation Elevé Dancewear*

$10,000 - $24,999 Artisan Bloom* Beaver Creek Foundation BMW of Murray R. Harold Burton Foundation C. Comstock Clayton Foundation Lawrence T. and Janet T. Dee Foundation Florence J. Gillmor Foundation

$5,000 - $9,999 America First Credit Union Bambara Restaurant* Blue Iguana* JP Morgan Chase Church of Jesus Christ of Latter-day Saints Foundation Discovery Gateway*

$1,000 - $4,999 3M Health Information Systems A&Z Produce Company* Beesley Family Foundation Mallory Berge Acupuncture* Caitland Photography Nicole Detling - HeadStrong Consulting* Industrial Supply* J. Wong’s Bistro*

The above list includes corporate, foundation, and government support received between March 1, 2017 and March 23, 2018. * Indicates contribution made in-kind

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I N D I V I D UA L D O N O R S 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, one-time 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 Meldrum Foundation John and Marcia Price Familiy Foundation Shari and David Quinney

S. J. and Jessie E. Quinney Foundation Rocky Mountain Power Beano Solomon James Lee Sorenson Family Foundation Wells Fargo

heritage club We thank our Heritage Club patrons for their annual support of Ballet West. mr. c and mrs. wallace Peggy Bergmann Judy Brady and Drew W. Browning John and Kristi Cumming Paul and Cheryl Huntsman

Barbara Barrington Jones Barbara Levy Kipper Peter and Cathie Meldrum

John and Marcia Price Family Foundation Shari and David Quinney Beano Solomon Krista and Jim Sorenson

Katharine W. Lamb Dan P. Miller John and Andrea Miller Jeanne Potucek Keith and Nancy Rattie Erin and Bryan Riggsbee Theodore Schmidt

Jonathan and Liz Slager Barbara L. Tanner The Varvel Family Charitable Fund Brad and Linda Walton Carole Wood and Darrell Hensleigh Julia S. Watkins

Meredith and Stephen Drechsel Spencer F. and Cleone P. Eccles Family Foundation Erik and Uzo Erlingsson John and Joan Firmage John and Ilauna Gurr Ron and Shelley Hansen Marc and Mary Carole Harrison Jennifer S. Horne Scott Huntsman Tina Jensen - Moreton and Company Conrad and Anne Jenson

Jeanne M. Kimball James R. Kruse and Mary Jo Smith Cynthia Lampropoulos David and Naja Lockwood Hank and Diane Louis Paul and Melanie Lyon Jennifer and Gideon Malherbe Angela Martindale and Michael Snow Rachèle McCarthey and Brock VandeKamp Thomas and Mary McCarthey

principal and first soloist Vilija Avizonis and Greg McComas Convergence Planning DiFiore Family Sue J. Ellis Alan and Jeanne Hall Foundation Stephanie and Tim Harpst Cindy and Howard Hochhauser

soloist and demi-soloist Stephany Alexander Margaret Anderson Kim Strand and Mike Black Brown Family Foundation Carol Browning, Céline Browning, and Rete and Rikki Browning Judy and Larry Brownstein Alexis Carr Carol Carter Carol Christ Kay Christiansen Jim and Barbara Clark

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I N D I V I D UA L D O N O R S

Willis McCree and John Fromer Anthony and Jessica Mirabile Dr. Pamela Dee Parkinson Richard and Lois Peterson Madeleine and Harvey Plonsker Brian and Janae Powell Mark and Melanie Robbins Ellen and Chris Rossi

Margaret P. Sargent Teresa Silcox Adam Sklute and Christopher Renstrom John Sklute George H. Speciale Sue and Jack Stahl Jennifer Strachan and Tom Biersbach

Rick and Chris Veit Roy Vincent Sue and Walker Wallace Susan Warshaw Marelynn and Edward Zipser Anonymous

Global Travel Network Ann and Rick Gold David and Sandylee Griswold Kenneth and Kate Handley Sandy Haughey David P. Heuvel and Johann Jacobs Connie C. Holbrook Mark and Wendi Holland Julie Hopkins Daniel Horns and Renee Zollinger Larry and Tina Howard Robert and Dixie Huefner David and Linda Irvine Gordon Irving G. Frank and Pamela Joklik Howard A. and Lou Ann B. Jorgensen Adriane Herrick Juarez John S. Karls The Keefers Brenda Kees The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Katharine Lauer Roxanne Christensen and Tony Lazzara David E. and Helane B. Leta Dustin Lipson Kathy Lynch Carrie and Doug Madsen Richard Mandahl and Franci Leary Nancy Melich and Lex Hemphill David and Colleen Merrill Jennifer Moldre Edward B. and Barbara C. Moreton Sheri P. and Ted Morgan Scott and JoAnn Narus

Anne Neeley Oren and Liz Nelson Peggy A. Norton and Scott W. Hansen Chris and Courtney Opdyke Linda S. Pembroke Andrea Peterson Troy and Helena Piantes Jeanie Pollack Lee Quinney Suzanne and David Razor Barbara Reid The Rickman Family Gary and Joann Rieben Benjamin and Jade Romney Mark and Linda Scholl Robert and Nancy Schumacker Katherine Scott Laura Scott and Rodney Mena Ben and Lael Selznick Aharon Shulimson and Julie Terry Braden and Heather Shupe Nancy and Robert Sparrer Lou Ann Stevens Maarten and Annette Terry Stephen and Vanice Thomson Jennifer Vanderwilt Jeff Van Niel and Nancy Rapoport Amy Wadsworth and David Richardson Mark Weisbender Bill and Betty Weldon Sue Wilkerson Elaine Wolbrom Mary Bird and Lance Wood Anonymous (5)

corps de ballet John and Marilyn Alleman Jeffrey Bronson Anderson Stephen Anderson BenĂŠ Arnold Petras and Liuda Avizonis Carol Baer Zlate Balulovski Marcy Barlow Govert Bassett Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Trina and Jerome Bellendir Alene Bentley Sharon and Michael Bertelsen Ginny Bostrom Rich Broggi Marie and Kevin Brown Meredith Cameron Rebecca Marriott Champion Cecile and Harold Christiansen Amalia Cochran William and Joan Coles William and Melissa Connelly Pascale De Rozario and Jonathan Crossett John Eckert Sissy Eichwald Patti Eylar and Charlie Gardner Deborah B. and Edward Felt Tracy Frankel Karen L. Freed Marc and Cammy Fuller David Keith Garside and Audrey Miner Marla M. Gault DeGauss

The above list reflects donors who gave gifts between March 1, 2017 and March 23, 2018.

The Shakespeare Suite | 2017–2018 season

51

I N M E MO RY A N D I N HO N O R gifts made in memory In Memory of Betty Ann Anderson Craig Anderson and Denise Dragoo Stephen and Karen Bernotski David E. and Helane B. Leta Evelyn Morrison Anne and Terry Ross Walt and Karen Sato Curt and Sandra Thomsen Friends and family at the Office of the Attorney General and the Utah Department of Environmental Quality

In Memory of Caroline W. Bassett Govert Bassett

In Memory of Paul Hutchings Elise Hutchings

In Memory of Megan Leigh Brown Marie Brown

In Memory of Barbro Klein Harriet and Irwin Ross

In Memory of Our Colleague, John Englund The Ballet West Orchestra

In Memory of Kathy Hellis Wood Ballet West

In Memory of Vicki Hawkes Carol Anne Price Keithley and Ruthe Anne Price

gifts made in honor In Honor of Patty Andringa Madeleine and Harvey Plonsker In Honor of Vilija Avizonis and Greg McComas Beth McComas In Honor of Peter Christie Joel and Frances Harris In Honor of Kazlyn Nielsen The Keefers

In Honor of Madeleine and Harvey Plonsker Judith and Donald Horwitz In Honor of Brian and Janae Powell The Varvel Family Charitable Fund

In Honor of Adam Sklute Madeleine and Harvey Plonsker In Honor of Anne Marie and Jim Smith Laura deLannoy

In Honor of Harriet Ross Elaine Wolbrom

ENCORE SOCIETY We honor those individuals who have made a meaningful commitment to the future of Ballet West by including a bequest or other deferred gift to 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* 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* Timothy and Stephanie 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 Margot Shott* Norman C. Tanner* and Barbara L. Tanner Oma W. Wagstaff* Mrs. Glen Walker Wallace* Nancy Rapoport and Jeff Van Niel Gladys Walz* Susan Warshaw Afton B. Whitbeck* Carole M. Wood and Darrell Hensleigh Marelynn and Edward Zipser *Indicates donor has passed away

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) 869-6936.

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BA L L E T W E S T S TA F F Adam Sklute, Artistic Director The Willam Christensen Artistic Director Chair Sponsored by Peggy Bergmann ADMINISTRATION AND FINANCE Felicia Cowan Director of Human Resources Chris Yoakam Interim Director of Finance

Amy Falls Development Coordinator EDUCATION & OUTREACH Peter Christie Director of Education and Outreach

Sarah Taylor Company Manager

Dana Rossi Education Associate /Assistant Director, I CAN DO

Jennifer Bailey Accounting Manager

Heather Fryxell Associate Director, Adaptive Dance

Robin L. Holt Accounts Payable Coordinator

Shelly Cordova Assistant Director, Senior Steps/Forward Steps

Teri Percy Assistant to the Executive Director and Board Liaison ARTISTIC STAFF Pamela Robinson Harris Principal Ballet Mistress Jane Victorine Wood Ballet Mistress Bruce Caldwell Ballet Master and Company Archivist Nicolo Fonte Resident Choreographer Cristin Carlin Assistant to the Artistic Director Calvin Kitten Director of Ballet West II and Assistant Ballet Master Peggy Dolkas Associate Director of Ballet West II Heather Thackeray Student Ballet Mistress 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 Jyn Van Putten Manager of Foundations and Government Giving Tracy Waters Corporate Relations and Events Manager Nicole Levy Individual Giving Manager

Temria Airmet, Nikki Bybee, Kira Coelho, Shelly Cordova, Ashley Creek, Ulysses Gonzalez, Jennifer Heighton, Lisa Johnson, Sarah Lovett, Stacey Mahan, Wendee Fiedeley-McCulloch, Audrey Olsen, Moisés Próspero, Alison Russell, Amy Simkins, Anne Marie Smith, Joni Taylor, Ashlee Vilos, Trish Wilstead Educators FREDERICK QUINNEY LAWSON BALLET WEST ACADEMY Peter LeBreton Merz Director, Frederick Quinney Lawson Ballet West Academy Heather Fryxell Interim Principal, Ballet West Academy at Salt Lake City

Michael Scolamiero, Executive Director The Elizabeth Solomon Executive Director Chair

Lindsay Folkman, Hannah Gagon, Jenna Rae Herrera, Brittany Holt, Lisa Hoyt, Katie Johnson, Nikolai Moroz, Michelle Player, Sawyer Player, Cynthia Ridler, Anne Marie Smith, Connie Smith, Paige Sparks, Jessica Thompson, Sara Turner, Juliana Vorkink, Chelsea Weidman, Natalie Whitney, Alena Wilson, Elise Wood Faculty Maggie Wright-Tesch U of U/ BW Joint Trainee Liaison Allison Phillips-Biehn Office Manager Virginia Hicks Summer Intensive Coordinator Leslie-Ann Campbell, Lindsay Preece, Allene Snow, Cole Walkenhorst Receptionists MARKETING Sara M. K. Neal Chief Marketing Officer Joshua Jones Director of Communications Lisa Jensen Retail Sales and Boutique Manager Alex Moya Graphic Designer Marissa Hodges Marketing Coordinator Beau Pearson Photographer

Jennie Creer-King Principal, Barbara Barrington Jones Family Foundation Ballet West Academy at Thanksgiving Point

MUSIC Tara Simoncic Music Director

Cati Snarr Principal, Peggy Bergmann Ballet West Academy at Park City

Ken Hodges Orchestra Manager

Peggy Dolkas, Calvin Kitten, Cynthia Ridler, Jeffrey Rogers, Heather Thackeray Principal Faculty

Jared Oaks Associate Music Director, Principal Pianist

Jed Moss Solo Pianist Grigoriy Ayrapetov Principal Academy Pianist/Associate Rehearsal Pianist

Shazell Ellerbeck Head Academy Administrator

Rob Wood Company Class/ Academy Pianist

Mikyla Arrington, Sandy Flury, Lisa Hoyt Academy Administrators

Jim Kuemmerle, Sarah Lund, John Rukavina, Heidi Slagle Academy Pianists

Katlyn Addison, Christa Anderson, Colleen Barnes, Tonia Blomquist, Brenda Butcher, Nikki Bybee, Bruce Caldwell, Ginger Christopher, Patrick Cubbedge, Natalie Desch, Wilson Domingues,

Michael McCulloch Production Stage Manager Lindsey Gander Ballet West II Stage Manager/Assistant Stage Manager Robert Clifford Head Carpenter/Technical Director Josh Belka Assistant Carpenter James K. Larsen Head Electrician/Lighting Coordinator Corey Cresswell Assistant Electrician Cory A. Thorell Properties Master Jacquelin Bryce Wardrobe Supervisor Yancey J. Quick Wig Master Heidi Belka Pyrotechnician 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 W. Powell Smith Patron Advisor 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.

TECHNICAL PRODUCTION Daniel B. Thompson Director of Production Kimberly Klearman Production Manager

The Shakespeare Suite | 2017–2018 season

59

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 cell phones 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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2017/2018 SEASON

Utah Ballet I Nov. 2 – Nov. 11 Ballet Showcase Nov. 16 – Nov. 18 Modern Grad Show Nov. 30 –Dec. 2 Utah Ballet II Feb. 8 – Feb. 10 student concert March 1 – March 3 School of dance Gala March 16 – March 17 Ballet Senior Show April 19 – April 21 Tickets @ tickets.utah.edu

SCHOOL OF DANCE

DANCER: ALAINA GONZALEZ PHOTO BY NATHAN SWEET

Modern Senior Concert April 5 – April 15

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