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  1. From the company: AMERICAN BALLET THEATRE LAUNCHES ABT CRISIS RELIEF FUND IN SUPPORT OF ABT ARTISTS American Ballet Theatre’s artists – dancers, production crew, rehearsal pianists and ballet masters – directly impacted by the loss of income due to canceled tour engagements in four cities this spring are now receiving supplemental benefits and financial support through the newly established ABT Crisis Relief Fund. The Fund, created by ABT, will help to sustain the Company’s artists through the turbulent period resulting from the COVID-19 state of emergency. “With our March and April tours canceled and our studios closed, we want to keep our community strong and our artists supported,” said ABT Executive Director Kara Medoff Barnett. “Ballet is a team sport. During this time when individuals are physically distant from one another, we want them to know that they are not alone. We will rely on our artists – their collaborative spirit and their collective optimism – for inspiration during this crisis and for healing on the other side of it.” Funds raised through the ABT Crisis Relief Fund will provide direct assistance to ABT’s artists. For information on how to donate and for continued updates on American Ballet Theatre, please visit www.abt.org.
  2. A release: AMERICAN BALLET THEATRE’S PERFORMANCES AT 2020 ABU DHABI FESTIVAL TO BE POSTPONED American Ballet Theatre’s scheduled performances of Romeo and Juliet at the 2020 Abu Dhabi Festival have been postponed due to concerns over the coronavirus (COVID-19). It was announced today by the Abu Dhabi Music and Arts Foundation. American Ballet Theatre’s performances of Romeo and Juliet with The Cleveland Orchestra were scheduled for April 3 and 4 at Abu Dhabi’s Emirates Palace Auditorium. “The health and safety of our dancers, staff, crew and audiences is our utmost priority,” said Kara Medoff Barnett, ABT Executive Director. “We are deeply disappointed, as we were looking forward to this historic collaboration with great anticipation. We are grateful for the support and guidance of the Festival staff, and we salute the vision and generosity of Her Excellency Huda I. Al Khamis Kanoo.” For more information, please visit: http://www.abudhabifestival.ae/.
  3. Dale

    Danny Tidwell RIP

    Very sad. He was a wonderful dancer. I loved watching him at ABT and he was the best dancer I think that was ever on SYTYCD. He should have won that season but the judges called him "haughty" ever show.But more than that, he should have had a very long life. Very sad for his family and friends.
  4. ABT release: DAVID HALLBERG NAMED ARTISTIC DIRECTOR OF THE AUSTRALIAN BALLET American Ballet Theatre Principal Dancer David Hallberg has been appointed Artistic Director of The Australian Ballet, effective January 2021. It was announced on Monday, March 2, 2020 in Melbourne by The Australian Ballet. Hallberg succeeds David McAllister, who served as Artistic Director for the last 30 years. Commenting on the appointment, American Ballet Theatre Artistic Director Kevin McKenzie said, “David Hallberg has proven himself to be a leader among his peers, as well as an innovator. His leadership of ABT’s choreography workshop, ABT Incubator, successfully provided a platform for new choreographic voices and creativity. I am proud to have witnessed his growth, skill and intelligence as an artist and look forward to seeing his next chapter unfold.” David Hallberg said, “I am honored to accept the position of Artistic Director of The Australian Ballet, an institution that inspires and energizes me through its dancers and its culture. It is a perfect time in my career to utilize the experience I’ve garnered over 20 years, both at ABT and abroad, and funnel it into the development of dancers and audiences in Australia. I am so inspired to realize my ambitious artistic vision for this world-class institution. The future looks very bright.” Born in Rapid City, South Dakota, Hallberg began his formal ballet training with Kee Juan Han at the Arizona Ballet School in Phoenix. In 1999, he was accepted into the Paris Opera Ballet School. Hallberg attended American Ballet Theatre’s New York Summer Intensive in 1999 and 2000 and joined ABT Studio Company in September 2000. He joined ABT as a member of the corps de ballet in April 2001 and was promoted to Soloist in January 2004. Hallberg was appointed a Principal Dancer with ABT in May 2006. His repertoire includes ABT’s entire classical canon, as well as a range of works by Artist in Residence Alexei Ratmansky including Chamber Symphony, Seven Sonatas, Firebird, On the Dnieper, The Nutcracker, Whipped Cream and The Bright Stream. Hallberg joined the Bolshoi Ballet as a Premier Danseur in September 2011, the first American to join the company under that title. In 2017, his memoir A Body of Work: Dancing to the Edge and Back was published by Touchstone. Hallberg will perform with American Ballet Theatre during its 80th Anniversary Spring season at the Metropolitan Opera House, May 11–July 4, 2020, in the roles of Romeo in Romeo and Juliet on Monday evening, May 25 and Albrecht in Giselle on Thursday evening, June 11. The Metropolitan Opera Box office opens Sunday, March 22. For tickets and information, please visit www.abt.org. Mr. Hallberg’s performances with American Ballet Theatre are sponsored by Avery and Andrew F. Barth.
  5. Just received a large release with sketches and set designs. Let's see if I can get it up here. Segerstrom Center for the Arts Presents World Premiere of American Ballet Theatre’s Of Love and Rage Choreographed by Alexei Ratmansky Photo: Erin Baiano March 5 – 8, 2020 in Segerstrom Hall Tickets on sale now COSTA MESA, CA – Segerstrom Center for the Arts proudly presents the World Premiere of American Ballet Theatre’s Of Love and Rage, a new work choreographed by ABT Artist-in-Residence and MacArthur Genius Alexei Ratmansky. Sets and costumes are by award-winning designer Jean-Marc Puissant, with lighting by designer Duane Schuler. Inspired from the first century Greek novel, Callirhoe, the libretto for Of Love and Rage was adapted by actor, director, screenwriter and Molière Award winner Guillaume Gallienne. The ballet is set to music by Aram Khachaturian with arrangements by Philip Feeney and performed live by Pacific Symphony. There will be five performances: March 5 – 8, 2020 in Segerstrom Hall. The ballet will have its New York Premiere during ABT’s 2020 Metropolitan Opera House season June 2 – 6. Alexei Ratmansky said, “Of Love and Rage is not a fairytale. Although it was written thousands of years ago, with the complexity of the relationship [between Callirhoe and Chaereas] at its core and the tough choices they face, it feels very modern and relevant. Callirhoe is a strong woman in a world where women had very limited options and no power. After early experiences where her fate is determined by men, she learns that she can use her beauty and her brains to shape her fate.” Ratmansky added, “I am fascinated by the topic of forgiveness. This is a story about how anger and jealousy tear two people apart – two people who are madly in love. Forgiveness is the only way they can reunite, and forgiveness requires strength. As Mahatma Gandhi said, ‘The weak can never forgive. Forgiveness is the attribute of the strong.’” Single tickets for American Ballet Theatre’s Of Love and Rage at Segerstrom Center for the Arts start at $29 and are now available online at SCFTA.org, at the Box Office at 600 Town Center Drive in Costa Mesa or by calling (714) 556-2787. For inquiries about group ticket discounts for 10 or more, call the Group Services office at (714) 755-0236. Callirhoe Chaereas Dionysius King of Babylon Queen of Babylon Principal Casting for Of Love and Rage at Segerstrom Center for the Arts Artists and program are subject to change. Thursday, March 5 at 7:30 p.m. Callirhoe – Catherine Hurlin Chaereas – Aran Bell Friday, March 6 at 7:30 p.m. Callirhoe – Christine Shevchenko Chaereas – Thomas Forster Saturday, March 7 at 2:00 p.m. Callirhoe – Catherine Hurlin Chaereas – Aran Bell About the Ballet Saturday, March 7 at 7:30 p.m. Callirhoe – Hee Seo Chaereas – Calvin Royal III Sunday, March 8 at 1:00 p.m. Callirhoe – Christine Shevchenko Chaereas – Thomas Forster Declared “the most gifted choreographer in classical ballet today” (The New York Times) Ratmansky was introduced to the ancient Greek text Callirhoe by his friend and colleague Guillaume Gallienne. Written by Chariton of Aphrodesias, Callirhoe is widely acknowledged to be the oldest novel ever written, set around 400 BC in the ancient Greek world, which, at that time, sprawled across the Mediterranean. A ballet in two acts, Of Love and Rage follows the novel’s powerful love story of Chaereas and Callirhoe as they struggle with the tragic consequences of their mistakes and, ultimately, find redemption through forgiveness. Of Love and Rage pulls inspiration from the Greek aesthetic of beauty and harmony, incorporating many elements from ancient Greek drama. Ratmansky employs his expansive knowledge of classical ballet’s history and the rhythms, harmonies and orchestrations of Aram Khachaturian’s score Gayane to create a powerful, story-driven piece, utilizing the full company of dancers. The corps de ballet, dancing as one unit, will portray supporting emotions in the commentary role found in Greek theater. The Story Callirhoe is a young noblewoman living in the city of Syracuse, Sicily. She is acknowledged as the most beautiful woman in the world, compared often to the goddess Aphrodite. She has many suitors, but when she and the handsome Chaereas see each other, it is love at first sight. Although her father Hermocrates and Chareas’s father Ariston are bitter enemies, the families are convinced to put aside their feud for the sake of love. Callirhoe and Chaereas are married. Callirhoe’s rejected suitors, now jealous of Chaereas, deceive the groom into thinking that Callirhoe is unfaithful. He becomes consumed by his own jealousy and confronts Callirhoe. In the course of the confrontation, she collapses, causing Chaereas to believe that his beloved is dead. Callirhoe is entombed along with a large cache of treasures. Pirates have secretly observed the funeral and, after the mourners leave, they plunder the tomb. Callirhoe awakens – she is not dead. The pirates kidnap her and sail to the city of Miletus in Cyprus. They sell her as a slave to the benevolent and wealthy Dionysius, who instantly falls in love with her. Meanwhile, she discovers that she is pregnant with Chaereas’ child. To save her child from being born into slavery, and thinking she will never see Chaereas again, Callirhoe takes control of her destiny and marries Dionysius. He doesn’t know Callirhoe is pregnant and assumes that the child is his. Chaereas, in the meantime, has returned to the tomb and finds it ransacked and Callirhoe gone. He gathers a ship and sets sail to find her. Following a series of coincidences, adventures, and near-reunions, Callirhoe and Chaereas finally see each other again. Dionysius, who loves Callirhoe and her son as his own, allows Callirhoe to decide whether to stay or return to Syracuse with Chaereas. Fate has imposed this decision on Callirhoe. Neither situation is perfect, but she must make a choice. About Alexei Ratmansky, Choreographer Alexei Ratmansky was born in St. Petersburg, Russia and trained at the Bolshoi Ballet School in Moscow. His performing career included positions as principal dancer with Ukrainian National Ballet, the Royal Winnipeg Ballet and the Royal Danish Ballet. He has choreographed ballets for the Mariinsky Ballet, the Royal Danish Ballet, the Royal Swedish Ballet, Dutch National Ballet, New York City Ballet, San Francisco Ballet, The Australian Ballet, Kiev Ballet and the State Ballet of Georgia, as well as for Nina Ananiashvili, Diana Vishneva and Mikhail Baryshnikov. His 1998 work, Dreams of Japan, earned a prestigious Golden Mask Award from the Theatre Union of Russia. In 2005, he was awarded the Benois de la Danse prize for his choreography of Anna Karenina for the Royal Danish Ballet. He was made Knight of Dannebrog by Queen Margrethe II of Denmark in 2001. He won his second Benois de la Danse for Shostakovich Trilogy in 2014. Ratmansky was named a MacArthur Foundation Fellow for 2013. Ratmansky was named artistic director of the Bolshoi Ballet in January 2004. For the Bolshoi Ballet, he choreographed full-length productions of The Bright Stream (2003) and The Bolt (2005) and re-staged Le Corsaire (2007) and the Soviet-era Flames of Paris (2008). Under Ratmansky’s direction, the Bolshoi Ballet was named “Best Foreign Company” in 2005 and 2007 by The Critics’ Circle in London, and he received a Critics’ Circle National Dance Award for The Bright Stream in 2006. In 2007, he won a Golden Mask Award for Best Choreographer for his production of Jeu de Cartes for the Bolshoi Ballet. In 2009, Ratmansky choreographed new dances for the Metropolitan Opera’s production of Aida. Ratmansky joined American Ballet Theatre as Artist in Residence in January 2009. For American Ballet Theatre, Ratmansky choreographed On the Dnieper (2009), Seven Sonatas (2009), Waltz Masquerade, a ballet honoring Nina Ananiashvili’s final season (2009), The Nutcracker (2010, West Coast Premiere at Segerstrom Center for the Arts in 2015), Dumbarton (2011), Symphony #9 (2012), Firebird (World Premiere at Segerstrom Center for the Arts 2016), Chamber Symphony, Piano Concerto #1 and The Tempest (2013), The Sleeping Beauty (World Premiere at Segerstrom Center for the Arts in 2015), Serenade after Plato’s Symposium (2016), Songs of Bukovina (2017), Whipped Cream (World Premiere at Segerstrom Center for the Arts in 2017), Harlequinade (West Coast Premiere at Segerstrom Center for the Arts 2018) and The Seasons (2019). Scenic design for Of Love and Rage. Artwork by Jean-Marc Puissant. About Jean-Marc Puissant, Set & Costume Designer Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet, he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera, he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet. Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet. Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama and is on the Board of Directors of Dance Umbrella Ltd. He was a 2018 Fellow at New York University’s Center for Ballet and the Arts. About Duane Schuler, Lighting Designer Duane Schuler’s work encompasses opera, ballet and theatre. Opera productions include Turandot (La Scala), Pelleas et Melisande (Metropolitan Opera), La Fanciulla del West (Opéra Paris), Elektra (Salzburg Festival), Fidelio (Covent Garden), Beatrice et Benedict (Glyndebourne), Candide (Santa Fe Opera) and Don Giovanni (Lyric Opera of Chicago). Ballet credits include Swan Lake and The Snow Maiden (American Ballet Theatre), The Sleeping Beauty (Stuttgart Ballet), Giselle (Deutsche Ballet) and The Nutcracker (Houston Ballet). Theatre credits include House and Garden (Manhattan Theatre Club), The Royal Family (Ahmanson Theatre), The Importance of Being Earnest (Broadway) and Ragtime (The 5th Ave Theatre). Upcoming productions include Cendrillon (Metropolitan Opera) and Ernani (San Francisco Opera). Schuler is also a founding partner of Schuler Shook, the theatre planning and architectural lighting design firm whose projects include Seattle’s Marion Oliver McCaw Hall, Lyric Opera of Chicago and the David H. Koch Theater at Lincoln Center. About Guillaume Gallienne, Librettist Gallienne made his film debut in 1992 in Tableau d'honneur and he has starred in Sofia Coppola's 2006 film Marie Antoinette. Between 2008 and 2010, he had a short sketch segment entitled Les Bonus de Guillaume on Le Grand Journal, parodying DVD bonus features. He won a Molière Award for Best Newcomer in 2010 in his one-man stage show Boys and Guillaume, to the table! (Les Garçons et Guillaume, à table!) and another for Best Supporting Actor in 2011 in Un fil à la patte. He collaborated with choreographer Nicolas Le Riche to write the libretto for the 2011 Paris Opera Ballet production of Caligula. He adapted Bolshoi Ballet's 2014 Parisian production of Illusions perdues, choreographed by Alexei Ratmansky. His 2013 film Me, Myself and Mum, an adaptation of his stage show, was screened in the Directors' Fortnight section at the 2013 Cannes Film Festival where it won the top prize (Art Cinema Award) and the Prix SACD. The film was nominated for ten Césars, the most in 2014, winning five in total. Individually, h was awarded the César Award for Best Actor and the César Award for Best Writing. Gallienne has been a member (Sociétaire) of the Comédie-Française company since 2005, having first entered in 1998. He became a Knight of the National Order of Merit in November 2008 and an Officer of the Order of Arts and Letters at the start of 2013. He has hosted a weekly literature show Ça peut pas faire de mal on France Inter since September 2009. About Philip Feeney, Musical Arrangements Composer and pianist Philip Feeney studied composition at the University of Cambridge and at Accademia di Santa Cecilia in Rome. He is best known for his work in dance, which he first encountered in Italy and has since worked with many companies in addition to American Ballet Theatre, including Northern Ballet Theatre, Rambert Dance Company, the White Oak Project and the Martha Graham Company. He has collaborated with many choreographers including Michael Pink, Didy Veldman, Michael Keegan-Dolan, Derek Williams, David Nixon, Adam Cooper and Sara Matthews, and his works have been performed by dance companies as diverse as Northern Ballet Theatre, Rambert Dance Company, Cullberg Ballet, Boston Ballet, Fabulous Beast, Scottish Dance Theatre, Milwaukee Ballet, in addition to more than forty works for Ballet Central. From 1991-95, Feeney lectured in composition at Reading University. He is currently composer in residence for Ballet Central and has been a longstanding accompanist at the London Contemporary Dance School. Inspired by image and movement, Feeney’s output is remarkable for its range and scope. Extending from full-length orchestral ballet scores to electro-acoustic soundscapes, jazz and hip hop scores, his works exhibit a capacity for reinventing past styles in a post-modern way. For Feeney, it is crucial that music for dance make sense as pure music at all times. It needs to have kinetic musicality and parallel logic that make the listener feel that the music is right, and that it is the only possible music that could work for that particular choreography. American Ballet Theatre is one of the great dance companies in the world. Few ballet companies equal ABT for its combination of size, scope and outreach. Recognized as a living national treasure since its founding in 1940, ABT annually tours the United States, performing for more than 300,000 people, and is the only major cultural institution to do so. For 80 years, the Company has appeared in a total of 132 cities in 45 countries and has performed in all 50 states of the United States. ABT has recently enjoyed triumphant successes with engagements in Paris, Brisbane, Abu Dhabi, Singapore, Hong Kong and Oman. On April 27, 2006, by an act of Congress, American Ballet Theatre became America’s National Ballet Company®. Pacific Symphony, led by Music Director Carl St.Clair for the last 29 years, has been the resident orchestra of the Renée and Henry Segerstrom Concert Hall for over a decade. Currently in its 40th anniversary season, the Symphony is the largest orchestra formed in the U.S. in the last 50 years and is recognized as an outstanding ensemble making strides on both the national and international scene, as well as here in Orange County. Pacific Symphony is dedicated to expanding the orchestral repertoire, illustrated through its many commissions and recordings, in-depth explorations of American artists and themes. The Symphony’s innovative approaches to new works received the ASCAP Award for Adventurous Programming in 2005 and 2010. In April 2018, Pacific Symphony made its debut at Carnegie Hall as one of two orchestras invited to perform during a yearlong celebration of composer Philip Glass’ 80th birthday. The New York Times saluted Pacific Symphony as “excellent...a major ensemble.” The following month the orchestra toured China, and in June 2018 made its national PBS debut on Great Performances with Peter Boyer’s “Ellis Island: The Dream of America,” conducted by St.Clair. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 residents—from school children to senior citizens. ________________________________________________ The Center's International Dance Series is made possible by the Audrey Steele Burnand Endowed Fund for International Dance and The Segerstrom Foundation Endowment for Great Performances. Of Love and Rage is presented with special underwriting from Mr. and Mrs. Eyal Aronoff, Mr. and Mrs. George Schreyer and William J. Gillespie. Segerstrom Center for the Arts applauds United Airlines, Official Airline of the Center. COAST Magazine is the official media partner of the Dance Season. Segerstrom Center for the Arts is an acclaimed arts institution as well as a beautiful multi-disciplinary cultural campus. It is committed to supporting artistic excellence, offering unsurpassed experiences and to engaging the entire community in new and exciting ways through the unique power of live performance as well as a diverse array of inspiring arts-based education and community engagement programs. Previously called the Orange County Performing Arts Center, Segerstrom Center is Orange County’s largest non-profit arts organization. In addition to its six performance venues, Segerstrom Center is also home to the American Ballet Theatre William J. Gillespie School and the School of Dance and Music for Children with Disabilities. The Center presents a broad range of programming for audiences of all ages, featuring international ballet and dance companies, national tours of top Broadway shows, jazz and cabaret, contemporary artists, classical music performed by renowned chamber orchestras and ensembles, family-friendly programming, and free performances on its plaza, such as outdoor movie screenings, concerts, community and cultural festivals. Segerstrom Center is a leader among the nation’s performing arts centers for providing education programs designed to inspire young people through the arts. The Center’s programs reach hundreds of thousands of students each year in five Southern California counties. The CDI supports flagship artistic programming and a wide range of projects that celebrate innovation, nurture creativity and engage audiences of the future. The Center Without Boundaries develops partnerships with non-cultural organizations to help them in their own efforts to respond to the ever-changing needs of the community. Segerstrom Center for the Arts is also proud to serve as the artistic home to three of the region’s major performing arts organizations: Pacific Symphony, Philharmonic Society of Orange County and Pacific Chorale. Each contributes greatly to the artistic life of the region with annual seasons performed at the Center. In addition to Segerstrom Center for the Arts as a presenting and producing institution, it also identifies the beautiful 14-acre campus that embraces the Center’s own facilities as well as two independently acclaimed organizations: Tony Award®-winning South Coast Repertory and a site designated as the future home of the Orange County Museum of Art. AMERICAN BALLET THEATRE: OF LOVE AND RAGE Segerstrom Center for the Arts – Segerstrom Hall 600 Town Center Drive, Costa Mesa, CA Choreography: Alexei Ratmansky, based on Chariton’s novel Callirhoe Music: Aram Khachaturian’s Gayane, arranged by Philip Feeney, performed live by Pacific Symphony Set and Costume Design: Jean-Marc Puissant Lighting Design: Duane Schuler Of Love and Rage is a co-production with the National Ballet of Canada. March 5 – 8, 2020 Thursday – Friday at 7:30 p.m. Saturday at 2:00 and 7:30 p.m. Sunday at 1:00 p.m. Tickets – In Person – Online – Phone – Group Sales – Start at $29 The Box Office 600 Town Center Drive Costa Mesa, CA 92626 Open 10 a.m. – 6 p.m. daily www.SCFTA.org www.ABT.org (714) 556-2787 Open 10 a.m. – 6 p.m. daily (714) 755-0236 Open 9 a.m. – 5 p.m. Monday-Friday Segerstrom Center for the Arts’ 2019–2020 International Dance Series continues with Teatro alla Scala Ballet Company’s Onegin (July 31 – August 2). Information provided is accurate at the time of printing but is subject to change. Segerstrom Center for the Arts is a public, non-profit organization. “Segerstrom Center for the Arts” is a registered trademark. Eh, the pictures didn't post.
  6. From the company: AMERICAN BALLET THEATRE AT 80 GIVES 80 HOURS OF SERVICE TO NEW YORK CARES COAT DRIVE As American Ballet Theatre celebrates the 80th Anniversary of its founding in January of 1940, Company dancers and staff joined together to contribute 80 hours of service to the New York Cares Coat Drive, giving back to the city that has been home and headquarters to America’s National Ballet Company® for eight decades. New York Cares meets pressing community needs by mobilizing caring New Yorkers in volunteer service. American Ballet Theatre’s 80 hours of service for New York Cares Coat Drive took place over two weeks this month at the midtown Coat Drive warehouse. ABT Artistic Director Kevin McKenzie and Executive Director Kara Medoff Barnett joined dancers Isabella Boylston, Leah Baylin, Jacob Clerico, Claire Davison, Erica Lall, Virginia Lensi, Joseph Markey, João Menegussi, Rachel Richardson, Devon Teuscher, Cassandra Trenary, James Whiteside, Katherine Williams and dozens of ABT administrative staff members to sort and bundle 3,630 coats. “It was wonderful to participate in a community so focused on the task of helping others,” said McKenzie. “It’s all the more meaningful that we could kick off our anniversary celebration with these 80 hours of service.” ABT’s participation in the New York Cares Coat Drive was organized by ABT Chief Administrative Officer Kimberly Shariff in conjunction with the New York Cares team. New York Cares is the largest volunteer network in the city. Last year, 52,408 New Yorkers made the city a better place by volunteering in New York Cares programs at 880 nonprofits and schools – improving education, meeting immediate needs, and revitalizing public spaces. For more information, visit newyorkcares.org.
  7. I know we've talked about Farrell coaching at NYCB on some other threads but I'll put this one here. Seems she's back at the company coaching Mearns (and others?) in Brahms-Schoenberg quartet. Brahms-Schoenberg Quartet
  8. It worked for me but I see that it's now on their site. It was a pdf so it might have downloaded.
  9. The 2020 Spring Met season release: NEW YORK PREMIERE OF ALEXEI RATMANSKY’S OF LOVE AND RAGE TO HIGHLIGHT AMERICAN BALLET THEATRE’S 80th ANNIVERSARY SPRING SEASON AT THE METROPOLITAN OPERA HOUSE, MAY 11–JULY 4, 2020 80TH ANNIVERSARY SEASON TO OPEN WITH “ABT THEN AND NOW” FEATURING WORKS BY GEORGE BALANCHINE, JESSICA LANG, JEROME ROBBINS, TWYLA THARP AND ANTONY TUDOR AND 40TH ANNIVERSARY PERFORMANCES OF LA BAYADÈRE TO HONOR LEGENDARY BALLERINA NATALIA MAKAROVA STELLA ABRERA TO GIVE FAREWELL PERFORMANCE IN GISELLE, SATURDAY EVENING, JUNE 13 NATALIA OSIPOVA, OLGA SMIRNOVA AND KIMIN KIM TO APPEAR AS GUESTS ARTISTS FOR THE SEASON American Ballet Theatre will celebrate its 80th Anniversary during the 2020 Spring season at the Metropolitan Opera House with the New York Premiere of Alexei Ratmansky’s Of Love and Rage, an opening week devoted to both new and historic works from the Company’s repertory, and the 40th Anniversary performances of Natalia Makarova’s production of La Bayadère. The Spring season was announced today by Artistic Director Kevin McKenzie. Principal Dancers for the 2020 Metropolitan Opera House season include Stella Abrera, Isabella Boylston, Misty Copeland, Herman Cornejo, David Hallberg, Sarah Lane, Gillian Murphy, Hee Seo, Christine Shevchenko, Daniil Simkin, Cory Stearns, Devon Teuscher and James Whiteside. Guest Artists for the season include Natalia Osipova, principal dancer with The Royal Ballet, Olga Smirnova, principal dancer with Bolshoi Ballet, and Kimin Kim, principal dancer with Mariinsky Theater. 80th Anniversary – ABTomorrow Spring Gala American Ballet Theatre will celebrate its 80th Anniversary with the ABTomorrow Spring Gala, a special evening celebrating eight decades of artistry including a showcase of student talent representing ABT’s artistic future. The ABTomorrow Spring Gala will highlight the Company’s past and future with anniversary video tributes, excerpts from beloved classics including Swan Lake, Romeo and Juliet and La Bayadère, a preview of Alexei Ratmansky’s 2020 premiere of Of Love and Rage and a special performance by students of the ABT Jacqueline Kennedy Onassis School. A Gala dinner-dance on the Promenade of the David H. Koch Theater will follow the performance. For more information on ABT’s 80th Anniversary ABTomorrow Spring Gala, please call the Special Events Office at 212-477-3030, ext. 3242. “ABT Then and Now” American Ballet Theatre will open its Spring season on May 11 with a week of repertory programs representing the Company’s heritage and its most recent commissions. Four performances of “ABT Then,” will comprise works premiered by Ballet Theatre in the 1940s, including George Balanchine’s Theme and Variations (1947), Antony Tudor’s Jardin aux Lilas (1940) and JeromeRobbins’s Fancy Free (1944). Four performances of “ABT Now,” beginning Tuesday, May 12, will present works premiered by ABT over the past year. They include Jessica Lang’s Garden Blue, Twyla Tharp’s A Gathering of Ghosts and Alexei Ratmansky’s The Seasons. New York Premiere – Of Love and Rage The New York Premiere of Alexei Ratmansky’s Of Love and Rage is set for Tuesday evening, June 2, 2020. Based on the first century historical romance novel Callirhoe by Chariton, Of Love and Rage tells the story of star-crossed lovers Callirhoe and Chaereas in ancient Greece. The ballet will be set to music by Aram Khachaturian, arranged by Philip Feeney, and will feature sets and costumes by Jean-Marc Puissant and lighting by Duane Schuler. Of Love and Rage, Ratmansky’s 17th work for American Ballet Theatre, will have its World Premiere on March 5, 2020 at Segerstrom Center for the Arts in Costa Mesa, California. The ballet will be given seven performances at the Metropolitan Opera House through June 6. La Bayadère – 40th Anniversary Performances Four performances of La Bayadère will begin on Tuesday evening, May 19 with Isabella Boylston (Nikiya), Herman Cornejo (Solor) and Cassandra Trenary (Gamzatti) leading the opening night cast. The performance on Thursday evening, May 21 will honor choreographer and legendary ballerina Natalia Makarova on the occasion of ABT’s 40th Anniversary of the ballet. Guest Artists Olga Smirnova and Kimin Kim, along with ABT Principal Dancer Gillian Murphy, will lead the cast for the anniversary evening. The full-evening production of La Bayadère was conceived, directed and choreographed by Makarova, after Marius Petipa. The ballet is set to music by Ludwig Minkus, arranged by John Lanchbery, and features scenery by PierLuigi Samaritani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. Dina Makarova serves as production coordinator. Natalia Makarova first staged “The Kingdom of the Shades” scene for ABT in 1974 and subsequently produced and choreographed the complete version (in three acts) for ABT in 1980. The World Premiere of Makarova’s production was given on May 21 of that year performed by Makarova (Nikiya), Anthony Dowell (Solor) and Cynthia Harvey (Gamzatti). Full-Length Ballets Kenneth MacMillan’s Romeo and Juliet will be given eleven performances beginning Friday evening, May 22 with Stella Abrera and James Whiteside in the title roles. Guest Artist Natalia Osipova will dance the role of Juliet on Monday, May 25 opposite David Hallberg as Romeo. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. Romeo and Juliet received its World Premiere by The Royal Ballet in London on February 9, 1965 and was given its ABT Company Premiere at The Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985 with Leslie Browne and Robert La Fosse in the leading roles. Hee Seo (Giselle), Cory Stearns (Albrecht) and Devon Teuscher (Myrta) will lead the first of eight performances of Giselle beginning Monday evening, June 8. Guest Artist Natalia Osipova will perform the title role opposite David Hallberg as Albrecht on Thursday, June 11. Stella Abrera, a Principal Dancer with American Ballet Theatre since 2015, will give her farewell performance with the Company in the title role of Giselle on Saturday evening, June 13, dancing opposite James Whiteside as Albrecht and Gillian Murphy as Myrta. Set to music by Adolphe Adam, with scenery by Gianni Quaranta, costumes by Anna Anni and lighting by Jennifer Tipton, Giselle features choreography after Jean Coralli, Jules Perrot and Marius Petipa and has been staged for ABT by Artistic Director Kevin McKenzie. The world premiere of Giselle, one of the oldest continually-performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940 with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin. American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. The Sleeping Beauty will be given eight performances beginning Monday, June 15 with Isabella Boylston and James Whiteside in the leading roles. Set to the classic score by Peter Ilyitch Tchaikovsky, The Sleeping Beauty has choreography by Marius Petipa and staging and additional choreography by Alexei Ratmansky, with assistance by Tatiana Ratmansky. The production features scenery and costumes by Tony Award®-winning designer Richard Hudson. Hudson’s designs are based on the historic work of Léon Bakst, who created a seminal version of The Sleeping Beauty for Serge Diaghilev’s Ballets Russes in 1921. The Sleeping Beauty received its World Premiere on March 3, 2015 at Segerstrom Center for the Arts in Costa Mesa, California, danced by Diana Vishneva (Princess Aurora) and Marcelo Gomes (Prince Désiré). Jane Eyre, choreographed by Cathy Marston, will be given five performances beginning Monday, June 22 with Devon Teuscher in the title role and James Whiteside as Rochester. The ballet features choreography and direction by Marston, music compiled and composed by Philip Feeney, scenery and costumes by Patrick Kinmonth and lighting by Brad Fields. Jane Eyre received its American Premiere by American Ballet Theatre on June 4, 2019 at the Metropolitan Opera House with Devon Teuscher in the title role and James Whiteside as Rochester. The production received its World Premiere by Northern Ballet on May 19, 2016 at the Cast Theatre in Doncaster, England performed by Dreda Blow as Jane Eyre and Javier Torres as Rochester. Jane Eyre is a co-production with The Joffrey Ballet and was staged for ABT by Jenny Tattersall and Daniel de Andrade. Ten performances of Swan Lake, choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov, will round out the season, Friday, June 26 through Saturday matinee, July 4. The opening night cast on June 26 will be led by Hee Seo as Odette-Odile and Aran Bell as Prince Siegfried. Swan Lake features scenery and costumes by Zack Brown and lighting by Duane Schuler. This production of Swan Lake premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile), Angel Corella (Prince Siegfried) and Marcelo Gomes (von Rothbart). ABTKids 80th Anniversary Edition A special 80th Anniversary version of ABTKids comes to the Metropolitan Opera House on Saturday, May 16, 2020 at 11:00 AM. The 2020 ABTKids offers young audience members, ages 4–12, and their families a unique journey through the Company’s eight decades, with performances and activities themed to ABT’s history. The one-hour narrated program will present excerpts of ABT’s vast repertory from the 1940s through to the present. All seats for ABTKids are $25. Subscriptions for American Ballet Theatre’s 2020 Spring season at the Metropolitan Opera House, on sale beginning Wednesday, October 30 at 12 Noon, are available by phone at 212-362-6000, or online at ABT’s website www.abt.org. Of Love and Rage and The Seasons are a part of The Ratmansky Project. Leadership support for The Ratmansky Project has been provided by Avery and Andrew F. Barth, the Blavatnik Family Foundation, Mr. and Mrs. Hamilton E. James, and The Ted and Mary Jo Shen Charitable Gift Fund. Jardin aux Lilas has been generously underwritten by Marjorie S. Isaac. Fancy Free is generously underwritten by an endowed gift from Avery and Andrew F. Barth, in honor of Laima and Rudolf Barth. Garden Blue is a part of the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional Leadership support provided by Denise Littlefield Sobel, the Virginia B. Toulmin Foundation, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund. La Bayadère is generously sponsored by an endowed gift from Drs. Philip and Marjorie Gerdine. American Ballet Theatre’s performances of Romeo and Juliet are generously underwritten through an endowed gift from Ali and Monica Wambold. American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick. ABT gratefully acknowledges the Lead Sponsor of The Sleeping Beauty, David H. Koch. Additional Leadership Support is generously provided by the Lloyd E. Rigler – Lawrence E. Deutsch Foundation. Leadership support of Jane Eyre, part of the ABT Women’s Movement, is provided by The Leila and Mickey Straus Family Foundation. Champion support for the ABT Women’s Movement is provided by Jenna Segal. This production is generously supported through an endowed gift from the Toni and Martin Sosnoff New Works Fund. Swan Lake has been generously underwritten by R. Chemers Neustein. American Airlines is the Official Airline of American Ballet Theatre. LG is the Global Electronics Partner of ABT. ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs, in partnership with the City Council.
  10. I'd also suggest the NY Times. Alastair Macaulay wrote about the ballet many times, performed by several different companies. And he seemed to always have a different point to make about the ballet, so it might be worth a binge read. https://www.nytimes.com/by/alastair-macaulay Plus various online articles in the journal Ballet Review: http://www.balletreview.com/images/Ballet_Review_46-1_Boos_Jewels.pdf http://www.balletreview.com/images/Ballet_Review_36-2_Jewels.pdf And one could search www.danceviewtimes.com for "Jewels."
  11. Company release: STELLA ABRERA TO GIVE FAREWELL PERFORMANCE WITH AMERICAN BALLET THEATRE, SATURDAY, JUNE 13, 2020 AT THE METROPOLITAN OPERA HOUSE ABRERA TO CONCLUDE 24-YEAR CAREER WITH A PERFORMANCE IN THE TITLE ROLE OF GISELLE Stella Abrera, a Principal Dancer with American Ballet Theatre since 2015, will give her farewell performance with the Company in the title role of Giselle on Saturday evening, June 13, 2020 at the Metropolitan Opera House. Born in Manila, Philippines, Stella Abrera grew up in South Pasadena, California and began her ballet training with Philip and Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. For three years, she studied the Royal Academy of Dancing method with Joan and Monica Halliday at the Halliday Dance Centre in Sydney, Australia. In 1995, Abrera received the Gold Medal at the Royal Academy of Dancing’s Adeline Genée Awards in London. She joined American Ballet Theatre as a member of the corps de ballet in 1996 and was promoted to Soloist in 2001. In August 2015, she was appointed Principal Dancer. Her repertoire with ABT includes the Girl in Afternoon of a Faun, Calliope and Terpsichore in Apollo, Gamzatti and a Shade in La Bayadère, The Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque in Le Corsaire, She Wore a Perfume in Dim Lustre, the woman in white in Diversion of Angels, Mercedes and the Driad Queen in Don Quixote, Helena in The Dream, the first passerby in Fancy Free, Lise in La Fille mal gardée, the Maiden in Alexei Ratmansky’s Firebird, Giselle, Myrta and peasant pas de deux in Giselle, Queen of Shemakahn in The Golden Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre, Lescaut’s Mistress in Manon, Katia in A Month in the Country, the Sugar Plum Fairy and the Snow Queen in Kevin McKenzie’s The Nutcracker, Clara the Princess in Ratmansky’s The Nutcracker, Emilia in Othello, Tatiana in Onegin, the Ballerina in Petrouchka, Older Sister in Pillar of Fire, Juliet and Lady Capulet in Romeo and Juliet, The Spirit of the Corn in The Seasons, Princess Aurora, the Lilac Fairy and Princess Florine in Ratmansky’s The Sleeping Beauty, the pas de trois in Swan Lake, the violin in Symphonie Concertante, leading roles in Bach Partita, Ballet Imperial, Birthday Offering, The Brahms-Haydn Variations, Her Notes, The Leaves Are Fading, Monotones I, Souvenir d’un lieu cher, Les Sylphides, Symphonic Variations, Symphony #9, Symphony in C and Thirteen Diversions, and featured roles in Airs, Baker’s Dozen, Black Tuesday, Deuce Coupe, Dream within a Dream (deferred), Gong, In the Upper Room, Petite Mort, Sinfonietta, Without Words and workwithinwork. Abrera created the roles of His Memory and His Experiences in HereAfter, the Spanish Dance in Ratmansky’s The Nutcracker, the Fairy Violente (Temperament) in Ratmansky’s The Sleeping Beauty, His Mistress in Weren’t We Fools, Princess Tea Flower in Whipped Cream and roles in After You, Garden Blue, Pretty Good Year and Seven Sonatas. Abrera has performed as a Guest Principal with the Australian Ballet, The Washington Ballet, The Royal New Zealand Ballet and Ballet Philippines. In 2014, she founded the charity Steps Forward for the Philippines to benefit typhoon victims in the Philippine province of Guiuan. In April 2018, she directed and performed in a benefit gala at the Maybank Performing Arts Theater in Manila, Philippines to raise funds for the creation of the Stella Abrera Dance and Music Hall at the Center of Excellence in Public Elementary Education (CENTEX) in Batangas, Philippines. Abrera is the director of Pro-Studio/Stella Abrera®, a training and coaching initiative for professional dancers launched in 2019 at Kaatsbaan Cultural Park for Dance. Abrera’s remaining performance for the Company’s 2019 Fall season at the David H. Koch Theater will be the role of The Spirit of the Corn in The Seasons on Tuesday, October 22. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater, priced from $30, are available online, by phone at 212-496-0600 or at the Koch Theater box office. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. Subscriptions for ABT’s 2020 Spring season at the Metropolitan Opera House are available online or by phone at 212-362-6000, beginning Wednesday, October 30 at 12 Noon. For more information, please visit ABT’s website at www.abt.org.
  12. More news: ERICA CORNEJO TO JOIN HERMAN CORNEJO ON STAGE IN EL CHAMUYO IN CELEBRATION OF HERMAN CORNEJO’S 20TH ANNIVERSARY WITH AMERICAN BALLET THEATRE, SATURDAY EVENING, OCTOBER 26 AT DAVID H. KOCH THEATER Erica Cornejo, former American Ballet Theatre Soloist and former Boston Ballet principal dancer, will join her brother Herman on stage in El Chamuyo at the David H. Koch Theater on Saturday evening, October 26 at 8:00 PM. The pas de deux is a pièce d’occasion celebrating Herman Cornejo’s 20th Anniversary with ABT. El Chamuyo, a tango choreographed by Ana María Stekelman and set to music by Francisco Canaro, was first performed by the Cornejos in 1998 at a gala dinner honoring Argentina on the Grand Tier of the Metropolitan Opera House. While in New York for the event, they attended Company class at American Ballet Theatre, and were invited to join ABT Studio Company. Born in San Luis, Argentina, Erica Cornejo began her study of ballet at the age of four. In 1994, she was invited to join Julio Bocca’s company, Ballet Argentino, where she was promoted to principal ballerina and Bocca’s partner in 1995. She joined ABT Studio Company in 1998 and became a member of ABT’s corps de ballet later that same year. She was promoted to Soloist in 2002. In 2006, Erica joined Boston Ballet as a principal dancer, where she performed leading roles until her retirement in 2017. She is co-founder and artistic director of INTEGRARTE, a Dance Art Movement Center in Boston. In addition to El Chamuyo, Herman Cornejo’s 20th Anniversary celebration on Saturday evening, October 26 will include his New York debut in the title role of George Balanchine’s Apollo and a leading role in A Gathering of Ghosts, the season’s World Premiere work by Twyla Tharp created for Cornejo and the Company. Cornejo will also lead A Gathering of Ghosts on October 16 at 7:30 PM, October 17 at 7:30 PM, October 19 at 8:00 PM and October 22 at 7:30 PM. Tickets for American Ballet Theatre’s 2019 Fall season at the David H. Koch Theater, priced from $30, are available online, at the Koch Theatre box office or by phone at 212-496-0600. The David H. Koch Theater is located at Lincoln Center, Broadway and 63rd Street in New York City. For more information, please visit ABT’s website at www.abt.org.
  13. I just sort of stumbled across this new interview:
  14. From the company: CHOREOGRAPHERS FOR 2019 ABT INCUBATOR SELECTED CLAIRE DAVISON, ZHONG-JING FANG, SUNG WOO HAN, GABRIELLE LAMB AND LAURA O’MALLEY TO CREATE NEW WORK FOR CHOREOGRAPHIC PROGRAM Choreographers Gabrielle Lamb and Laura O’Malley, along with American Ballet Theatre dancers Claire Davison, Zhong-Jing Fang and Sung Woo Han, have been selected to create work for the 2019 ABT Incubator, a two-week choreographic workshop providing a focused lab to inspire new choreographic voices and generate ideas for the creation of new work. Directed by ABT Principal Dancer David Hallberg, ABT Incubator will be held October 29–November 9, 2019 at ABT’s New York studios. ABT Incubator choreographers were chosen through an audition process with selections made by a panel including Hallberg, ABT Artistic Director Kevin McKenzie, Danspace Executive Director Judy Hussie-Taylor and choreographer Jessica Lang. Selected choreographers are provided studio space and a stipend to create new work on ABT dancers. Lang will serve as a program mentor, offering composition exercises and professional management advice for ABT Incubator participants. In addition, ABT Incubator provides participating dancers and choreographers access to museum and gallery tours, as well as theater experiences. The workshop culminates with a private studio showing on November 9. “This year’s iteration of ABT Incubator is in alignment with my long-term vision for the program: to nurture voices over the course of time, each year facilitating another vital step in the process,” said Hallberg. “With exciting newcomers joining the program, as well as Gabrielle Lamb and Sung Woo Han returning to create and further develop their work for a second consecutive year, ABT Incubator has become invaluable to building a roster of new creative talent.” Claire Davison, from Boulder, Colorado, received her early training at the Boulder Ballet School. Davison was a finalist at Youth America Grand Prix in New York in 2009. She joined the ABT Jacqueline Kennedy Onassis School on scholarship in 2010, became an apprentice with ABT in November 2012 and joined the Company’s corps de ballet in June 2013. Zhong-Jing Fang was born in Shanghai, China. She has received numerous awards, including first place in the Prix de Lausanne and the Rudolf Nureyev Foundation Prize in 2000. Fang joined ABT Studio Company in 2002 after graduating from the Performing Arts College of Shanghai Drama University. She became an apprentice with ABT in April 2003 and a member of the corps de ballet in January 2004. Fang was promoted to Soloist in September 2018. Sung Woo Han, born in Seoul, South Korea, trained at the Royal Ballet School on full scholarship. He has won numerous awards including International Ballet Competition-Varna, Youth America Grand Prix and second prize at the Prix de Lausanne in 2011. Han joined ABT’s corps de ballet in 2013. He previously choreographed Beneath the Conscious for ABT Incubator in 2018. Gabrielle Lamb is the director of Pigeonwing Dance, a contemporary dance company based in New York City. Lamb is the winner of a Princess Grace Award for Choreography and a New York City Center Choreography Fellowship, as well as choreographic competitions at Hubbard Street Dance Chicago, Milwaukee Ballet and Western Michigan University. Her work has been presented by companies such as the Royal Winnipeg Ballet, Sacramento Ballet, Jacob’s Pillow and Dance Theatre of Harlem. She was previously selected to choreograph for ABT Incubator in 2018. Laura O’Malley, from Phoenix, Arizona, has danced as a soloist with Stuttgart Ballet and Dutch National Ballet. She later joined Hubbard Street Dance Chicago and Alonzo King LINES Ballet. O’Malley has choreographed for LINES Ballet’s education programs, Berkley Ballet Theater, SFDanceworks and various dance films. ABT Incubator is supported by American Express and the Virginia B. Toulmin Foundation.
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