Publication - Music Center

Transcription

Gillian Murphy and Qi Huan in Royal New Zealand Ballet’s Giselle
Giselle
ROYAL NEW ZEALAND BALLET
JANUARY 2014
Glorya Kaufman Presents Dance at The Music Center
presents
Artistic Director
Managing Director
Ethan Stiefel
Amanda Skoog
Giselle
PRODUCTION Johan Kobborg & Ethan Stiefel
CHOREOGRAPHY Johan Kobborg & Ethan Stiefel (after Marius Petipa)
MUSIC Adolphe Adam
SCENIC DESIGN Howard C Jones
COSTUME DESIGN Natalia Stewart
LIGHTING DESIGN Kendall Smith
CONDUCTOR Nigel Gaynor
Principal Guest Artist
Gillian Murphy
dancers
Abigail Boyle, Brendan Bradshaw, Clytie Campbell, Jacob Chown,
Hayley Donnison, Rory Fairweather-Neylan, Madison Geoghegan,
Lori Gilchrist, Madeleine Graham, Katherine Grange, Lucy Green,
Adriana Harper, Antonia Hewitt, Oscar Hoelscher, Maclean Hopper, Qi Huan,
Alexander Idaszak, Kohei Iwamoto, Jiang Peng Fei, Laura Saxon Jones,
Bronte Kelly, Dimitri Kleioris, Yang Liu, Tonia Looker, Paul Mathews,
Arata Miyagawa, Alayna Ng, Loughlan Prior, Kirby Selchow (Apprentice),
Joseph Skelton, Harry Skinner, Mayu Tanigaito, Bryn Watkins, Maree White
Ballet Master
Ballet Mistress
Martin Vedel
Turid Revfeim
Support for this engagement is provided, in part, by the
Glorya Kaufman Dance Foundation, Center Dance Arts,
Dorothy Buffum Chandler Program Fund, Elisabeth Katte Harris,
The Music Center Foundation, and The Music Center Annual Fund
Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs
and the use of recording devices are not allowed in this auditorium. Program and Artists subject to change.
1 PERFORMANCES MAGAZINe
2013-2014 the music center BoarD of Directors
officers
memBers at larGe
Lisa Specht
Wallis Annenberg
Cindy Miscikowski
Peter K. Barker
Colleen Bell
Shelby Notkin
Judith Beckmen
Louise Henry Bryson
Diane Paul
Eli Broad
Fung Der
Kurt C. Peterson
Ronald W. Burkle
Craig A. Ellis
Max Ramberg
Lloyd E. Cotsen
David Gindler
Joseph Rice
John B. Emerson*
Brindell Gottlieb
Richard K. Roeder
Lois Erburu
SECRETARY
Joyce Hameetman
Carla Sands
Richard M. Ferry
Thomas R. Weinberger
Dennis Haysbert
Joni J. Smith
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Catherine Soros
Joanne D. Hale
Amb. Glen A. Holden
Marc I. Stern
Stuart M. Ketchum
Richard Jones
Cynthia A. Telles
Kent Kresa
Carolbeth Korn
Franklin E. ulf
Robert F. Maguire, III
Amb. Lester B. Korn
Walter F. ulloa
Ginny Mancini
Nigel Lythgoe
Timothy S. Wahl
Edward J. McAniff
Martin Massman
Susan M. Wegleitner
Walter M. Mirisch
Patrick S. McCabe
Alyce Williamson
Fredric M. Roberts
Bowen “Buzz” H. McCoy
Rosalind W. Wyman
Claire L. Rothman
BOARD CHAIR
Robert J. Abernethy
Michael A. Lawson
Michael J. Pagano
VICE CHAIRS
Stephen D. Rountree
PRESIDENT AND CHIEF
ExECuTIVE OFFICER
Karen Kay Platt
TREASuRER
Lisa Whitney
ASSISTANT TREASuRER AND
CHIEF FINANCIAL OFFICER
Mattie McFadden-Lawson
Elizabeth Michelson
Neal S. Millard
Directors emeriti
Stephen G. Contopulos
GENERAL COuNSEL
James A. Thomas
Andrea L. Van de Kamp*
Paul M. Watson
* CHAIRMAN EMERITuS
letter from the PresiDent & ceo
Dear Friends,
I am pleased to share the exciting news that the James Irvine
Foundation has awarded The Music Center a significant
three-year grant, which we will use to deepen our efforts
to broaden engagement with younger, ethnically diverse
members of the many communities in Los Angeles County.
As we approach the 50th Anniversary of The Music Center
it is essential that this great institution be relevant and
exciting for all Angelenos.
The resources this grant provides will be dedicated to the development of programming
and other initiatives designed to engage and involve younger adults and families of Los
Angeles today – the “New California” – who will be, in many ways, the influencers of
the future of cultural, civic and commercial life in Los Angeles. Some of the projects will
include the use of new technologies that will propel us in this digital age, to new types of
performances, participatory events and educational programs that will launch the next
level of arts engagement for current and prospective Music Center audiences.
This grant comes at an exciting and
pivotal moment for The Music Center. This
year
we celebrate our 50th anniversary,
this great institution be
which is a time to tell our story and
relevant and exciting
commemorate Dorothy Chandler’s vision
to create a cultural center for everyone
for all angelenos. "
that would yield an “unprecedented
democratization of the arts.” With the help of this grant, we will move into our next 50
years with our eye on ensuring that vision.
" ...it is essential that
Clearly Glorya Kaufman Presents Dance at The Music Center plays a pivotal role in not
only attracting new audiences, but also in supporting the creation of new work and the
presentation of young, diverse artists. The Royal New Zealand Ballet’s production of
Giselle is a welcome example of bringing a fresh new perspective to one of ballet’s bestloved classics.
I hope you enjoy the performance, and that you will join us on our journey toward engaging
audiences from all over Los Angeles in the transformative power of the performing arts.
Stephen D. Rountree
President & CEO
PERFORMANCES MAGAZINe 3
ProGramminG note
Welcome to the Royal New Zealand Ballet as we
celebrate their first North American appearance
under the artistic direction of America’s own Ethan
Stiefel. An international ballet sensation, Ethan
quickly rose to stardom as a Principal dancer with
New York City Ballet, Zürich Ballet and American
Ballet Theatre. His talents seem to be endless as he
has been a teacher, choreographer, and lead actor
in a major feature film. While he may no longer
be “center stage,” he is now central to the recent
success of the Ballet company.
Two years ago Ethan shared with me his plan to revisit Giselle in partnership
with his friend Johan Kobborg. This was immediately intriguing as they sought
to delve deeper into the interpretation by reexamining every element, character
and movement of the much-cherished ballet. This refreshed Giselle has cemented
Ethan’s focused and refined creative leadership as the timeless themes remain
relatable and compelling for a new generation.
In February, we honor a seminal American legend through the West Coast premiere
of James Brown: Get on The Good Foot, a Celebration in Dance. James Brown was a
complex and fascinating artist whose continued global influence is undeniable.
This entertaining tribute led by the Apollo Theater, features Philadanco performing
the works of multiple choreographers from around the world.
Also in February, as part of our acclaimed World City, a family-friendly and free
program, there will be a joyful and unbridled exploration of traditional Irish
sean-nós dance with Atlantic Steps. This is just another one of the many exciting
happenings at The Music Center. We hope you will join us throughout the season.
Enjoy the performance!
Renae Williams Niles
Vice President, Programming
ProGram
synopsis
prologue
Our tale begins with a lone man standing haunted and consumed
by the images playing inside his head. We now enter into the
mind of this man and see the story that has possessed his entire
being for nearly a decade…
act one
In a remote village, Count Albrecht enters with fellow nobleman
and faithful liege Wilfrid, who is assisting the Count in his
pursuits. Albrecht is inspired by what the day holds as he happily
disguises himself once again as a peasant under the alias Lenz.
He is in the village to flirt with a beautiful and vibrant young
peasant girl, Giselle, whom he has recently encountered. Giselle,
who loves dancing and sewing, is taken by the dashing young
Lenz and falls deeply in love. Their blossoming romance is
abruptly interrupted by Hilarion, the gamekeeper of the manor.
Hilarion has long been in love with Giselle and has shown up
today to profess that love to her. Although flattered, Giselle does
not reciprocate his feelings. The conversation escalates, and
Hilarion is prompted to leave.
A number of peasants return from the fields and the annual
harvest, and Lenz is introduced to the village and to Giselle’s
mother, Berthe. upon meeting the mysterious Lenz, Berthe’s
maternal instincts make her wary. Having never seen this man
before and sensing that something is amiss, she seeks to have a
word with Giselle. She reminds her daughter of the local legend:
women who die from a broken heart become Wilis, spirits who
are eternally destined to haunt the forest at night. Giselle tells
her mother not to worry and that everything will be fine.
Basking in the glow of passion and the success of the day’s
proceedings, Lenz is startled by a horn in the distance: the sound
of nobility. Panicked, he finds a place to hide with Wilfrid’s
assistance. Hilarion re-enters the village, only to be surprised
by and suspicious of Wilfrid’s presence. Hilarion seeks to make
sense of what has turned out to be a rather strange day thus
far, but his thoughts are interrupted by the trumpeting of the
horn, and he too realizes the aristocracy is on the way. The Duke
and his riding party, including the glamorous Lady Bathilde,
have chosen to stretch their legs, have a drink, and pick up
some minor provisions before continuing their outing. During
the course of their stop, Lady Bathilde becomes involved in
conversation about life and love with Giselle and is taken by
the peasant girl’s beauty and charm. Having reached the time
for the riding party to move on, the aristocrats take their leave
of the village. Soon thereafter, a lively group of peasants return
celebrating a recent marriage. The entire community dances,
including Giselle, Hilarion, and Lenz, in honour of the wedding
couple. This is a joyous occasion for everyone involved except for
Hilarion, who finds himself increasingly frustrated and isolated.
The merriment reaches a fevered pitch and Hilarion, dejected,
is left alone, only to make an important discovery. The peasants
continue the party but the revelry comes to an abrupt halt when
Hilarion shares Lenz’s secret: he is indeed not a peasant but
Count Albrecht. Giselle refuses to believe this is true until the
riding party is summoned and it is revealed that Lady Bathilde’s
fiancé is none other than Count Albrecht. Shattered by the
revelation, Giselle becomes emotionally and physically unhinged
by the betrayal and deceit. She spirals into madness, dying of a
broken heart in the arms of the man she loved.
act two
Wracked with grief, Hilarion is saying his goodbyes to Giselle
when he senses a bone-chilling and ominous presence which
frightens him away from her grave. That looming dread presents
itself in the form of Myrtha, the icy Queen of the Wilis. She marks
her territory and summons her Wilis, an army of despondent
and vengeful spirits whose purpose is to seek retribution by
killing any targeted man who enters their territory. This is done
by forcing the man to dance to his death. Myrtha calls upon and
initiates their newest recruit, Giselle. Myrtha senses Albrecht’s
arrival and instructs the Wilis to hide.
Albrecht enters the forest, carrying the weight of his actions.
He mourns the loss of Giselle until stunned by a supernatural
occurrence. He cannot believe his eyes as the aura of Giselle
appears before him. He pleads forgiveness and chases her spirit.
The Wilis’ attack on the men begins as Hilarion is hurled into
their circle of death, and he dances until he meets his end.
Myrtha sends the Wilis to collect Albrecht so that he might meet
a similar fate. Giselle, not yet callous and bitter like her fellow
spirits, shows pity on Albrecht and seeks to protect him from his
deadly fate. Myrtha and her Wilis are persistent and push his
mind, body, and soul to its limits, only to be constantly repelled
by Giselle’s purity of love and forgiveness. As dawn breaks, the
Wilis’ power begins to fade.
Giselle has succeeded in keeping Albrecht alive and giving him
the precious gift of life and her eternal love. Albrecht is left to
contemplate the consequences of his actions and to know what it
means to live with a broken heart.
epilogue
The man we first met at the start of our story has relived this
nightmare in his mind for the last time. For although he was
given a second chance on life, he cannot forget his lost love or
accept her forgiveness. He rushes to the gravesite that he has not
visited for all of these years…
,
who s who
the royal new ZealanD Ballet
The Royal New Zealand Ballet (RNZB) is a versatile company
of 34 dancers. Bringing together artists of six different
nationalities and from many schools and traditions, the RNZB
is proud to offer New Zealanders the opportunity to see ballet
and dance of an exceptionally high standard, in their home
towns. The company tours regularly to ten centres around
New Zealand, and undertakes a biennial tour of small towns
which takes the dancers to up to 50 communities, from the
tip of New Zealand’s North Island to the bottom of the South.
The company which became the Royal New Zealand Ballet
was formed in 1953 by Royal Danish Ballet Principal
Dancer Poul Gnatt. Early days of touring embodied the
New Zealand pioneering spirit. Performing night in,
night out, company members unloaded and repacked
the sets, rigged the lights and ironed the costumes, with
local community members providing accommodation.
The spirit of those days survives, and the support of the
New Zealand public remains. The RNZB is an intrinsic
part of New Zealand’s national heritage, receiving
a proportion of its operating income from the New
Zealand government through the Ministry for Culture
and Heritage and with one of the largest followings
of all New Zealand arts organisations. The award of a
Royal Charter in 1984, making the RNZB one of just
four ballet companies in the British Commonwealth
to enjoy this recognition, was further proof of the
company’s leading place in New Zealand’s cultural life.
Today, the RNZB has developed a reputation for strong
and unique interpretations of full-length dramatic works,
something which has been a hallmark of its work since
the 1980s. To this base have been added many of the
masterworks and major ballets of the 20th century,
including works by Balanchine, Kylián, Jorma Elo and
Mark Morris, and the Prokofiev and Stravinsky ballets,
notably versions of Cinderella and Romeo and Juliet by
British choreographer Christopher Hampson, a fine
Petrouchka and an award-winning interpretation of The
Rite of Spring, Milagros, by Venezuelan choreographer
Javier De Frutos. The company has an enviable track
record in commissioning and performing works from New
Zealand and international choreographers including, in
recent years, Mark Baldwin, Andrew Simmons, David
Dawson, Cameron McMillan and Larry Keigwin.
The RNZB undertakes an international tour most
years, with recent destinations including China (2007,
2009 and 2013), where the company enjoyed sell-out
performances in Shanghai and Guangzhou, the united
Kingdom and France (2011) and Australia (2008). The
RNZB’s 2014 uS performances, the first time that the
company has performed there for over two decades,
will be followed by a return to the uK and Ireland in
2015. International touring has led to prestigious
award nominations, including two Best New Dance
Production nominations at the 2005 Society of London
Theatre Laurence Olivier Awards (for Romeo and Juliet
and Milagros at Sadler’s Wells), and nominations at
the 2011 uK Critics’ Circle National Dance Awards, for
Best Classical Choreography (for Andrew Simmons’
A Song In The Dark) and as Outstanding Company.
The embracing of new opportunities through the media
and digital technology has brought the RNZB to an
ever-widening audience, both at home and abroad. The
company is the subject of The Secret Lives of Dancers, an
award-winning reality television series produced by New
Zealand’s TV3, a third series of which will air in 2014.
The RNZB’s 2012 production of Giselle, co-produced
by Ethan Stiefel and Johan Kobborg and starring
Gillian Murphy as Giselle and Qi Huan as Albrecht,
was developed into a feature film by New Zealand
director Toa Fraser, produced by Matthew Metcalfe
of General Film, with support from the New Zealand
Film Commission. Following its premiere at the
New Zealand International Film Festival in July
2013, Giselle was selected for both the Toronto and
Vancouver International Film Festivals and is now on
international release, including 100 cinemas in France.
The RNZB’s education programme takes the company’s
work into classrooms, school halls, dance schools
and community centres around New Zealand. Special
classes, including dedicated Ballet for Boys sessions,
are offered for pre-vocational dance students
around New Zealand alongside each tour, and the
RNZB has also created a mentoring programme
which pairs aspiring young dancers with company
members for regular advice and encouragement.
The appointment of Ethan Stiefel as Artistic Director in
2011 has raised the national and international profile of
the Royal New Zealand Ballet still further. As the company
begins its sixth decade it does so in good heart, proud
of its place in New Zealand and on the world stage.
,
who s who
artistic staff
ETHAN STIEFEL | ARTISTIC DIRECTOR
Ethan Stiefel, born in Pennsylvania, is the Artistic Director of
the Royal New Zealand Ballet. Just prior to being appointed
the RNZB’s Artistic Director, Stiefel served as Dean of the
School of Dance at the university of North Carolina School of
the Arts (uNCSA).
Stiefel began his dance studies in Madison, Wisconsin. His
early teachers included Paul Sutherland and Ted Kivitt.
He continued his studies at Marcia Dale Weary’s Central
Pennsylvania Youth Ballet. He was awarded a full scholarship
at the School of American Ballet, where he studied under
Stanley Williams and then trained with Mikhail Baryshnikov at
his School of Classical Ballet.
Stiefel began his performing career at age 16 with the New
York City Ballet where he quickly rose to the rank of Principal
Dancer. He was also a Principal Dancer with the Zürich Ballet
and joined American Ballet Theatre in 1997. Stiefel gave his
final performance as a Principal Dancer with ABT in July 2012.
His repertoire of full-length works included Florimund (The
Sleeping Beauty), Siegfried (Swan Lake), Romeo (Romeo
and Juliet), James (La Sylphide), Albrecht (Giselle), Lescaut
(Manon), Lenski (Onegin), Jeanne (Raymonda), Colas (La
Fille Mal Gardée), Solor (La Bayadère), Oberon (A Midsummer
Night’s Dream), Prince (Cinderella) Cassio (Othello), Basil
(Don Quixote), Franz (Coppélia), Conrad and the Slave (Le
Corsaire). He appeared in a wide variety of shorter works by
George Balanchine, Jerome Robbins, Michel Fokine, William
Forsythe, Lar Lubovitch, Jiří Kylián, August Bournonville,
Bob Fosse, Antony Tudor, Christopher Wheeldon, Eugene
Loring, Peter Martins, Nacho Duato, Frederick Ashton,
including works created on him by Twyla Tharp, Paul Taylor,
Nils Christe, Susan Stroman, Mark Morris and Christopher
Wheeldon among others.
He made his debut with London’s Royal Ballet in Twyla
Tharp’s Junk Man pas de deux and returned frequently as
a guest, dancing the roles of Franz, Solor, Colas, Albrecht,
Lenski, the Prince in Natalia Makarova’s new production of
The Sleeping Beauty and In the Middle, Somewhat Elevated by
William Forsythe. The Mariinsky (Kirov) Ballet first invited
him to dance Apollo in St. Petersburg. He later returned to
perform the role of Solor. Other guest appearances included
the Australian Ballet, the Zürich Ballet, the Bayerische
Staatsballett, Hamburg Ballet, The National Ballet of Canada,
Teatro Colon, and tours in the united States, Japan, Russia and
throughout Europe.
He starred in the feature film CENTER STAGE, and returned to
play the role of Cooper Nielsen in CENTER STAGE 2 - TuRN IT
uP. Stiefel’s television and video credits include The Dream,
Le Corsaire, Die Fledermaus, Gossip Girl and the documentary,
Born to be Wild.
In 2004, Stiefel founded a summer training program on
Martha’s Vineyard, Stiefel and Students, which took place for
four years. He was the founding director of the Nantucket
Dance Festival.
He has been a guest teacher for many institutions including the American Ballet Theatre II, American Ballet Theatre,
Jacqueline Kennedy Onassis School, The National Ballet of
Canada and The Royal Ballet School.
In 2009, Stiefel created a new staging of The Nutcracker for
the uNCSA, which continues to be performed every Christmas
season. Most recently, he choreographed Bier Halle and
collaborated with Johan Kobborg on choreographing and
producing a new production of Giselle for the RNZB. In 2013,
Giselle was adapted into a feature film, directed by Toa Fraser,
and was selected for screening in the NZ International Film
Festival, Vancouver International Film Festival and the Toronto
International Film Festival.
His Royal Highness Crown Prince Albert of Monaco presented
Stiefel with the Statue Award of the Princess Grace
Foundation, the Foundation’s highest honour, in October
1999. He received the prestigious Dance Magazine Award
in December 2008; was a juror for the Prix de Lausanne in
2001 and served on the selection committee for the 2010
International Ballet Competition held in Jackson, Mississippi.
AMANDA SKOOG | MANAGING DIRECTOR
Amanda left New Zealand as a teenager to pursue a career as
a classical ballet dancer, touring Europe extensively before
accepting a position with English National Ballet where she
met her husband Matz: the Artistic Director of the Royal New
Zealand Ballet from 1996 to 2001.
Amanda has worked in arts administration for the past 20
years. She was Education Officer with English National Ballet,
the Development Manager at London’s Design Museum,
Assistant Director at Central School of Ballet with the late
Christopher Gable and Visitor Services Manager at the Roald
Dahl Museum and Story Centre, where her responsibilities
included the trading operations of the museum. She has
a post-graduate Diploma in Arts Administration from City
university, London.
Amanda began her role with the RNZB in September 2006 and
says the most satisfying aspect of her job is enabling talent
from throughout the company to shine, be it dancers, production
or any area of administration.
,
who s who
NIGEL GAYNOR | CONDuCTOR AND MuSIC DIRECTOR
MARTIN VEDEL | BALLET MASTER
Nigel was born in Sydney, and trained at the Sydney
Conservatorium of Music and the Aspen Music Festival
School, uSA. He has worked with The Royal Ballet,
English National Ballet, Northern Ballet uK, Australian
Ballet, Ballet Philippines, and numerous leading
international orchestras.
Born in Greenland, with Danish nationality, Martin Vedel
trained at the Royal Danish Ballet School and danced with
the Royal Danish Ballet from 1988-2000, rising to the rank
of Soloist. In 2000 he became a Principal with the Béjart
Ballet in Lausanne, Switzerland, under the directorship of
Maurice Béjart and Gil Roman. As a dancer, his repertoire
included works by Bournonville and Balanchine as well
as classics such as Swan Lake, The Sleeping Beauty, Don
Quixote and Frederick Ashton’s Romeo and Juliet. His
contemporary roles included works by William Forsythe,
John Neumeier, Maurice Béjart and Jiří Kylián as well as
recent creations by Kim Brandstrup and Liam Scarlett.
Career highlights include working with Rudolf Nureyev,
Sir Robert Helpmann and Jiří Kylián; conducting the
Australian Ballet’s Red Earth by Stanton Welch on live
television; collaborating on new ballets with Glen Tetley,
Wayne McGregor and Christopher Wheeldon, and music
directing for Northern Ballet’s China tours and English
National Ballet’s tours to Taiwan and Spain. Nigel
conducted Alessandra Ferri’s performances of Manon
with The Australian Ballet; American Ballet Theatre’s
Julie Kent and Guillaume Graffin for a gala programme in
Christchurch, New Zealand, and Derek Deane’s spectacular
Swan Lake ‘in the round’ at the Royal Albert Hall for
English National Ballet.
Nigel has composed and arranged for ballet and theatre
productions and has recently completed a full length
ballet score. He is actively involved in music education in
dance and has produced eight volumes of Beautiful Music
for Ballet Class.
Nigel’s first engagement with the RNZB was in 2011 for
The Sleeping Beauty; he was appointed Music Director in
2013 and to date has conducted and recorded music for
Ethan Stiefel’s Bier Halle; the RNZB’s 60th anniversary
production of Swan Lake, for the national tour of which
he conducted the New Zealand Symphony Orchestra, the
Auckland Philharmonia Orchestra and the Christchurch
Symphony Orchestra; and TOWER Tutus on Tour, with
Orchestra Wellington. This last included excerpts from
Flower Festival at Genzano and Don Quixote, as well as a
new production of Peter and the Wolf, narrated by New
Zealand television personality Te Radar.
Nigel’s first international engagement with the Royal New
Zealand Ballet was the company’s 2013 tour to China,
where he directed the orchestra for the RNZB’s performances of Giselle at the National Centre for Performing
Arts in Beijing. He will again conduct Giselle when the
RNZB makes its debut at the LA Music Center in January/
February 2014.
While at the Béjart Ballet he began to teach the company,
and on his retirement from dancing in 2010 he became
a guest teacher for English National Ballet, working with
Wayne Eagling on his new production of The Nutcracker and
assisting with principal coaching for productions of Romeo
and Juliet and Manon.
From 2011-12 he was Ballet Master at the Royal Ballet
of Flanders, where he taught company class and coached
a wide range of ballets including John Cranko’s Onegin,
Marcia Haydée’s production of The Sleeping Beauty and
works by William Forsythe and Christopher Wheeldon.
Martin joined the Royal New Zealand Ballet as Ballet
Master in January 2013.
TURID REVFEIM | BALLET MISTRESS
A New Zealander by birth, Turid Revfeim was appointed
Ballet Mistress at the Royal New Zealand Ballet in 2003. Her
association with the RNZB dates back to 1980 when she was
a dancer in The Nutcracker. She spent four years as a soloist
with the Theater der Stadt Koblenz in Germany. In Europe
she danced at the prestigious Bayreuther Festspiele each
summer from 1982-86. Turid re-joined the RNZB as a dancer
in 1986. In 1997 she worked for the Eric Languet Dance
Company as Rehearsal Assistant and Stage Manager, and
later that year had her daughter Emma. In 1999 she retired
from dancing and took up the position of Artistic Coordinator
with the company. The RNZB has performed four of her
works; Si Supieras for the 2004 Otago Festival of the Arts,
subsequently restaged for the RNZB’s Tutus on Tour regional
tour of New Zealand in 2005. Three over Four and Bernarda
Alba’s House featured in the RNZB’s 1999 ‘Original’s season
and Kleines Requiem in 2000’s Next Step season.
,
who s who
Dancer BioGraPhies
ABIGAIL BOYLE joined the RNZB in 2005 and has received
widespread critical acclaim for her dancing. Notable
mentions include her performance as Mercedes in 2008's
Don Quixote, which the press described as 'seductive hardedged elegance, coupled with superb comic timing.' Abigail
was lauded for her performances in From Here to There in
2010, and her portrayal of Carmen also received ecstatic
reviews, with Theatreview saying 'her first solo drips with
alluring sexuality as the choreography sits deliciously in
her highly articulate body.' In 2011, the dominion post
described her performance in TOWER Tutus on Tour as
'superb allegro and serene adagio, which covers all there
is.' Abigail's recent roles include Aurora and the Lilac Fairy
in The Sleeping Beauty, principal roles in Balanchine's Who
Cares? and Myrtha, Queen of the Wilis in Giselle (2012).
JACOB CHOwN graduated from the Australian Ballet School.
A former Western Australia state trampoline champion,
he began his career with the RNZB in 2006. Jacob has
performed in numerous productions with the company. In
2008, Dominion Post critic, Jennifer Shennan, commended
his performance in the triple bill RED: 'the eye was
continually drawn to young Jacob Chown for his remarkable
combination of control and majesty in solo passages.' Jacob
performed lead roles in Silhouette and A Million Kisses
to My Skin in the 2010 triple bill From Here to There. as
the Prince's Friend in The Sleeping Beauty (2011), critics
declared Jacob 'outstanding'. In 2012's NYC: Three Short
Ballets from the Big Apple, Jacob's performance in Larry
Keigwin's Final Dress was also labelled a 'standout'. Jacob
performed the role of Hilarion in Giselle (2012).
BRENDAN BRADSHAw began ballet lessons as a six year old
in the small New South Wales town of Wauchope. He then
trained at the Australian Ballet School, graduating with
the Graeme Murphy Award for Excellence in Contemporary
Dance. His roles since joining the RNZB in 2004 include
Prince Desire in The Sleeping Beauty, Romeo in Romeo
and Juliet and the Prince in Cinderella, about which the
National Business Review said: 'Bradshaw showed superb
athleticism and a dynamic technique which dominated the
ballroom sequence.' Personal highlights include working
with Javier De Frutos, Jorma Elo and Larry Keigwin. As a
choreographer, Brendan has created works for Auckland's
Tempo Festival, the RNZB's appearance in WOW (World
Of Wearable Art) in 2011 and TOWER Tutus on Tour. He
collaborated with former RNZB dancer Catherine Eddy on a
new Peter and the Wolf for TOWER Tutus on Tour in 2013.
RORY FAIRwEATHER-NEYLAN, from Queensland, Australia,
joined the RNZB in 2007. He attended the Australian Ballet
School and later enrolled at the Queensland Dance School
of Excellence. He went on to further his training at the
New Zealand School of Dance. In 2007 he was a finalist
in the Alana Haines Australian Awards and was granted a
scholarship to attend the Royal Winnipeg Ballet School's
Summer Programme. Rory was also awarded the solo seal
from the Royal Academy of Dance. Rory's performance
as Peter Pan in the company's 2009 production met with
critical acclaim, the National Business Review noting he
'gave a stunning performance as the cheeky, athletic Peter
Pan.' Rory has also performed the roles of Mercutio in Romeo
and Juliet and Pinocchio in TOWER Tutus on Tour in 2011.
CLYTIE CAMPBELL joined the RNZB in 2005, returning
from eight years dancing in Europe. Starting at the age of
five, her entire ballet training was at her mother's school,
the Phillipa Campbell School of Ballet in Auckland. At 17,
Clytie joined the Deutsche Oper Ballet in Berlin, where she
danced for more than six years, before moving to Vienna's
Staatsoper Ballet. Clytie has danced many lead roles with
the RNZB including Kitri in Don Quixote, The Sylph in La
Sylphide, Myrtha, Queen of the Wilis in Giselle, the grand
pas de deux in The Nutcracker and Carabosse and the Lilac
Fairy in The Sleeping Beauty, as well as solos in Esquisses,
Silhouette and A Million Kisses to My Skin. Her role as Lady
Capulet in Romeo and Juliet was described as 'a knockout'.
Clytie received critical acclaim for her lead roles in all
three works in 2010's From Here to There, which she also
performed during the RNZB's European Tour in 2011.
Born in Hamilton, HAYLEY DONNISON moved to Invercargill
as a toddler and started ballet when she was six. At age ten
while dancing at Shelley E. Coutts Dance Academy, Hayley
moved to Melbourne with her family where she continued
her training with Christa Cameron School of Ballet. At 15
she was accepted into the Australian Ballet School and
graduated in 2012. While at the ABS Hayley received the
Level 5 Award for Excellence and was selected to visit
The National Ballet School of Canada and The School of
American Ballet on exchange. Hayley joined the RNZB as
an apprentice in January 2013, becoming a full company
member in September 2013. Performance highlights
include the Pas de Trois in Russell Kerr's Swan Lake for
RNZB, Clara in Leigh Rowles’ Nutcracker (Australian Ballet
School), Prelude in Les Sylphides (Australian Ballet School)
and the Candide fairy from The Sleeping Beauty (Australian
Ballet School).
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who s who
Born in Cincinnati, uSA, MADISON GEOGHEGAN began
dancing at the age of five. She trained pre-professionally
at a local studio, Ballet Tech of Ohio, under the direction of
Claudia Rudolf Barrett. At 16, Madison was accepted into
The university of North Carolina School of the Arts. While a
student, Madison was awarded the Melissa Hayden endowed
scholarship. She performed leading roles including the Sugar
Plum Fairy, Odette/Odile in Swan Lake and Balanchine's V.
Madison graduated from uNCSA in May 2012 and joined the
RNZB for Giselle in September 2012.
LORI GILCHRIST is from Yorkshire in England and joined
the RNZB in January 2014. She trained at Pamela Gibson’s
school of dance and at the age of 16 she continued her
training at the Northern Ballet School in Manchester. upon
graduating Lori joined Northern Ballet in the uK under
the directorship of David Nixon where she danced for 10
years. She danced many roles whist at Northern Ballet
including; Sugarplum Fairy in The Nutcracker, Cleopatra in
Cleopatra, Hermia in A Midsummer Night's Dream, Myrtle
in The Great Gatsby, Isabella in Wuthering Heights, Belle
and the Ghost of Christmas past in A Christmas Carol
and Beatrice in Ondine. Lori has also performed in many
other works by Hans Van Manen, Christopher Hampson,
Daniel De Andrade and David Nixon. In 2012 Lori guested
at the International Ballet Gala in Magdeburg where she
performed the pas de deux Three Preludes from David
Nixon's I Got Rhythm.
Born and raised in Melbourne, MADELEINE GRAHAM began
dancing at the age of seven, training at the Jane Moore
Academy of Ballet and the Victorian College of the Arts
Secondary School before being accepted into the Australian
Ballet School in 2010, where she later graduated as vice
captain in 2012. She was awarded the Royal Academy of
Dance Australian Bursary in 2008 and the Graeme Murphy
Contemporary Excellence Award (Australian Ballet School). Her
repertoire includes works by Jiří Kylián, Michel Fokine, David
Lichine, Peggy Van Praagh, Jonathan Taylor, Mark Annear and
Petal Miller-Ashmole. Performance highlights include dancing
the White Cat in Peggy Van Praagh's The Sleeping Beauty, Lucas
Jervies' From Home Far From and Margaret Wilson's Quintet.
Originally from Tauranga, KATHERINE GRANGE joined the
RNZB in 2010 as the Todd Scholar. Katherine has been
dancing since the age of four and trained at the Dance
Education Centre in Tauranga and the New Zealand School
of Dance. She first danced with the RNZB when still a
student, joining the La Sylphide Tour in 2009. In 2011's The
Sleeping Beauty, Katherine danced the Blue Fairy and the
Orange Fairy. In 2012 she performed the role of the Short
Step Sister in Cinderella. Katherine's other achievements
include joining Singapore Dance Theatre as a guest dancer
in 2009 for their production of Swan Lake.
Sydney-born LUCY GREEN graduated from the Victorian
College of the Arts in 2008 and joined the RNZB in 2010. In
2011 Lucy performed the role of Columbina in Pinocchio and
the Green Fairy and Bluebird in The Sleeping Beauty. The NZ
Listener praised Lucy's performance in Benjamin Millepied's
28 Variations on a Theme by Paganini (2012) as 'dazzlingly
fluid', with the New Zealand Herald declaring 'every inch of
her a stunning new star on the rise.' Lucy ended 2012 on a
high, having performed the title roles in both Cinderella and
Giselle as well as creating the female role in the 'wedding
couple' in Act I of Ethan Stiefel and Johan Kobborg's Giselle.
Born in Auckland, ADRIANA HARPER grew up in small-town
Coromandel. She completed her professional training at the
New Zealand School of Dance in 2004, graduating with the
Todd Scholarship. Adriana joined the Royal New Zealand
Ballet in 2005 and has since danced Lucy Westenra in Dracula,
the Short Step Sister in Cinderella, Kitri in Don Quixote and
featured roles in Esquisses, Concerto and A Million Kisses to My
Skin about which us dance critic Allan ulrich said her work
showed 'a spiralling exuberance that, I suspect, won't be a
southern hemisphere secret much longer.'
Born in Wellington, ANTONIA HEwITT moved to Canberra as
a toddler and began ballet lessons at the age of four. She
trained at the Kim Harvey School of Dance before returning
to Wellington in 2004 to attend the New Zealand School of
Dance, joining the RNZB in 2007. Her roles have included
the title roles in La Sylphide (2009), Carmen (2010) and
most recently, Giselle. in 2011 she performed the role of the
Lilac Fairy in The Sleeping Beauty. The National Business
Review remarked that Antonia's performance as The Sylph
'shone through with a lustrous richness'. in 2012's NYC:
Three Short Ballets from the Big Apple, Antonia featured
in both Benjamin Millepied's 28 Variations on a Theme of
Paganini and Balanchine's Who Cares?, earning praise for
her 'stunning delicacy'. Antonia's performances as Giselle
in 2012 were universally acclaimed. Bernadette Rae of
the New Zealand Herald wrote: 'Antonia Hewitt's willowy
grace and long, fluid lines make for an ethereal Wili, of
captivating power and other-worldly beauty.'
Born in Brisbane, Australia, OSCAR HOELSCHER
started dancing at the young age of 5 learning ballet,
contemporary, jazz, and tap before focusing on ballet.
He is a founding member of the Brisbane City Youth
Ballet and danced many ballets with them including the
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who s who
Prince in The Nutcracker. Oscar attended and graduated
the Queensland Dance School of Excellence in 2010
gaining the 'Dance Student of the Year' award. He then
started his training at the New Zealand School of Dance
in 2011. In July 2013, Oscar danced in RNZB's Swan Lake
tour on secondment and has now joined the company.
MACLEAN HOPPER was born in Richmond, Virginia. He
started dancing when he was nine years old, and went
on to train at the university of North Carolina School of
the Arts and San Francisco Ballet School, with summers
spent at Washington Ballet and Boston Ballet. He joined
the RNZB for Giselle in 2012. Highlights while a student
include dancing Act II of Swan Lake and Antony Tudor's
Little Improvisations with RNZB colleague Sara Havener,
a fellow uNCSA alumna. Maclean's favourite ballets are
Romeo and Juliet and Giselle, and he loves the work of
William Forsythe and David Dawson. In his spare time he
likes to cook and surf.
QI HUAN began his ballet studies in Shengyang, in China's
Liaoning province. He went on to the Beijing Dance
Academy and from 2003-4 was a teacher at the academy,
with former RNZB principal dancer Ou Lu. Since joining
the RNZB in 2005, Qi has performed many principal roles,
including the title role in Dracula, the Prince in Cinderella,
Siegfried in Swan Lake, Romeo in Romeo and Juliet, Basilio
in Don Quixote, Prince Desire in The Sleeping Beauty, the
grand pas de deux in The Nutcracker and Hook in Peter Pan.
He has also taken leading roles in shorter works, including
A Million Kisses to My Skin, A Song in the Dark and 28
Variations on a Theme of Paganini. In 2012, Qi partnered
Gillian Murphy in the Da:ns Festival Gala in Singapore,
performing 'The Man I Love' from Balanchine's Who Cares?
and the 'Black Swan' pas de deux. He ended the year with
acclaimed performances as Albrecht in Giselle, with the
uK's DanceTabs online magazine saying 'his dance to death
is breathtaking and he convinces you that he has given
every scrap of energy just as dawn arrives. Technically he
is on fire.'
Born in Sydney, ALExANDER IDASzAK began his dance
training at J and L Productions and was offered a place at
The McDonald College of Performing Arts School, taught
by Josephine Jason and Alan Cross. In 2010, Alexander
accepted a place at The Australian Ballet School in
Melbourne, where he completed a Diploma in Dance and a
Vocational Graduate Certificate in Classical Ballet. After
graduating in 2012, Alexander was offered a position
by Artistic Director Li Cunxin as a company dancer with
Queensland Ballet, and performed leading roles such as
Prince Albrecht in Ai-gul Gaisina’s Giselle, also the Prince
in Ben Stevenson’s The Nutcracker. Alexander joined the
Royal New Zealand Ballet in 2014.
KOHEI IwAMOTO began ballet lessons in his native Japan at
the age of 11. His talent was rewarded with a scholarship
to the Australian Ballet School, and he joined the RNZB at
the beginning of 2010. Kohei has a passion for comic roles
and an early highlight for him was performing the role of
a tourist in Carmen. In 2011 he performed both the title
role and the adventurous puppet Arlequino in Pinocchio,
as part of TOWER Tutus on Tour, as well as Bluebird and the
Prince's Friend in The Sleeping Beauty. 'Bluebirds (…Kohei
Iwamoto) shimmered like flutes', according to the dominion
post. During 2012, Kohei made two significant debuts, as
the Prince in Cinderella and as Albrecht in Giselle.
JIANG PENG FEI was born in Anhui province, People’s
Republic of China. He started dancing at the age of four
and undertook his formative training at the Secondary
School of the Beijing Dance Academy. In 2012, at the
prestigious Youth America Grand Prix ballet competition
in New York City, Peng Fei was placed amongst the top
12 men. In the same year, he participated in the Beijing
International Ballet Competition and was awarded 3rd
place in the Tao Li Cup. As a consequence of his success at
YAGP, Peng Fei was granted an international scholarship
to study full-time at the New Zealand School of Dance,
in 2013. Peng Fei is thrilled to be joining the Royal New
Zealand Ballet in 2014.
Australian born, LAURA SAxON JONES began dancing at the
age of 6 with Christine Atkinson - the Ballet Class, Sydney.
With dual nationality, Laura came to New Zealand in 2011
to further her training at the New Zealand School of Dance.
In the NZSD's graduation programme, Laura was chosen
to dance Violette Verdy's role in Balanchine's Emeralds
(staged by Diana White). Capital Times wrote – 'excerpts
of Balanchine's sparkling Emeralds was fluidly danced by
all, but especially Laura Jones. This elegant dancer has a
lovely, unforced technique and personality that should take
her far.' In her second year of training at the school, Laura
toured with the RNZB in Ethan Stiefel and Johan Kobborg's
new production of Giselle. Laura was awarded the 2012
Todd Scholarship and joined the Royal New Zealand Ballet
in 2013.
From Queensland, Australia, BRONTE KELLY started dancing
at the age of four and went on to train at the Australian
Ballet School. She joined the RNZB at the beginning of 2011,
performing in TOWER Tutus on Tour, Stravinsky Selection
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who s who
and The Sleeping Beauty, in which she performed the role
of the Yellow Fairy. Recent highlights include appearing in
Balanchine's Who Cares?, performing the title role in the
RNZB's Cinderella and being a part of Ethan Stiefel and Johan
Kobborg's Giselle.
An Australian of Greek and Maltese heritage, DIMITRI
KLEIORIS took his first dance lessons in jazz and tap at the
age of six, later taking up classical ballet at the McDonald
College under the direction of Nigel Burley. He graduated
from the Australian Ballet School in 2009 and joined the
RNZB the following year. 'A piece that requires from its
dancers soul and raw physicality as well as technique,
and for an embodiment of this...one can't go past Dimitri
Kleioris.' - Australian stage. In 2012 Dimitri danced the
lead couple in Larry Keigwin's Final Dress and the role of
Hilarion in Giselle; he also choreographed the piece 4+1 for
leaps & sounds. He has recently been coached by and thanks
Irina Brecher Hamilton and the team at Soul Motion in Los
Angeles. Dmitri's favourite production is Graeme Murphy's
Swan Lake. He has played the role of a sailor in Murphy's The
Nutcracker and Jaschiu in Opera Australia's production of
Death in Venice choreographed by Meryl Tankard.
Chinese-born YANG LIU started dancing at the age of five
and went on to train at the Beijing Dance Academy from
1996 – 2003, before joining the National Ballet of China.
Yang joined the RNZB in 2010. Her audition and first season
dancing in the triple bill season of From Here to There
were featured in the first series of TV3's The Secret Lives
of Dancers. She went on to become a fan favourite in the
second series of Secret Lives. Yang's favourite ballets are
Giselle, The Sleeping Beauty and Don Quixote. In 2011 she
danced the role of the Green Fairy in The Sleeping Beauty,
with the Otago Daily Times praising her 'certain lightness
[which] made the technically demanding choreography
seem effortless.'
Originally from Australia, TONIA LOOKER trained at the
Australian Ballet School. In 2007 she was awarded a
scholarship to train with the School of American Ballet in
New York and Toronto's National Ballet School. Tonia joined
the Royal New Zealand Ballet in 2008 and in her debut in
RED she was described by one critic as a dancer to watch,
noting 'her exuberance and dynamic line is noticeable
amongst the ranks.' She performed Tinkerbell in Peter Pan at
the end of 2009 to critical acclaim; 'a tempestuous wonder
as Tinkerbell,' said the Dominion Post. Career highlights for
Tonia include performing the title role in the RNZB's 2009
production of La Sylphide and appearing as Juliet to a home
crowd during the 2010 Australian tour of Romeo and Juliet.
In 2011, Tonia performed as Columbina in Pinocchio, the Doll
in Petrouchka and Aurora in The Sleeping Beauty, and in 2012
she performed the title roles in both Cinderella and Giselle.
Born and raised in Auckland, PAUL MATHEwS joined the
RNZB from the New Zealand School of Dance in 2006, as
the Todd Scholar. He has performed a wide variety of roles,
including Gamache in Don Quixote, Hook in Peter Pan, Tybalt
in Romeo and Juliet, the Blackamoor in Petrouchka and most
recently, Hilarion in Giselle. He took a lead role in A Million
Kisses to My Skin, performed as part of From Here to There
(2010) and on the RNZB's 2011 European tour. In 2012's
NYC: Three Short Ballets from the Big Apple, Paul achieved
a career highlight as leading man opposite Gillian Murphy
in Balanchine's Who Cares?, with the Listener praising his
performance as 'stylish and casually sexy.
ARATA MIYAGAwA was born in Japan and trained there and
at the prestigious John Cranko School in Stuttgart, Germany
and studied with Petr Pestov. Arata made his RNZB debut in
2013 with Made to Move. He has danced with the Stanislavski
and Nemirovich-Dancenko Academic Music Theatre in
Moscow (2010/11) and in 2012 won the silver medal at the
International Ballet Competition in Varna, Bulgaria, one of
the world's most highly regarded competitions for young
professional dancers. Other awards include a bronze medal
at the 2010 Youth America Grand Prix in New York, the gold
medal at the all Japan Ballet Competition, also in 2010, and
medals at the Tanzolymp ('Dance Olympics') Competitions in
Berlin in 2005 and 2009.
GILLIAN MURPHY (Principal Guest Artist). Gillian is a
Principal Ballerina with American Ballet Theatre, and
in 2012 she also became Principal Guest Artist with
the Royal New Zealand Ballet. Gillian was raised in
Florence, South Carolina, uSA and received her high
school education and advanced dance training at the
university of North Carolina School of the Arts. Gillian's
repertoire includes leading roles in all of ABT's current
full-length classics and in shorter works by George
Balanchine, Jerome Robbins, Jiří Kylián, Antony Tudor,
William Forsythe, Martha Graham, Lar Lubovitch, Paul
Taylor, Frederick Ashton and Agnes de Mille. She starred
as Odette/Odile in ABT's PBS television production of
Swan Lake, and she has appeared in world premieres of
new creations by Benjamin Millepied, Stanton Welch,
Jorma Elo, Peter Quanz, Natalie Weir, John Neumeier,
Alexei Ratmansky, Christopher Wheeldon and Twyla Tharp.
Gillian has danced with The Mariinsky Ballet (Kirov), the
Royal Swedish Ballet, the Staatsballett Berlin, the Kiev
Ballet, and in numerous other international engagements
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who s who
and galas. In 2009, Gillian was the recipient of a Princess
Grace Statue Award, the organisation's highest honour.
Wellington-born ALAYNA NG has been dancing since the age
of four, graduating from the New Zealand School of Dance
in 2006. Her performance in the school's graduation season
was described by Maggie Foyer of Dance Europe as 'feminine
charm in a crowd-pleasing display of one-upmanship. While
still a student, Alayna performed with the RNZB in The
Wedding and Giselle, before joining the company in 2007.
In 2009, her performance in Dances from Napoli drew praise
from Dance Informa: 'in the pas de six, Alayna Ng shone.
her technique was faultless and her performance warm and
generous.' In addition to performing with the RNZB, in 2010
Alayna qualified as a Pilates instructor. For 2013's Made to
Move, Alayna was excited to have worked alongside Ethan
Stiefel during the creation of Bier Halle.
LOUGHLAN PRIOR was born in Melbourne and began his
early training at Parkwood Dance Academy and then later at
the Victorian College of the Arts Secondary School. He first
performed with the Royal New Zealand Ballet in the company's
2009 season of TOWER Tutus on Tour. upon graduating from
the New Zealand School of Dance at the end of that year, he
was offered a full time place with the company. His career
highlights include dancing in Cameron McMillan's Satisfied with
Great Success and Javier De Frutos' Milagros. Loughlan has a
keen interest in choreography, having created work for RNZB's
recent leaps & sounds season and the NZSD graduation season
in 2012. He also teaches dance and is involved in modelling
projects and visual design.
Born in Gisborne and raised in Pukekohe, JOSEPH SKELTON
started dancing at the age of four. He trained in the uK at
the Elmhurst School for Dance and the Royal Ballet School.
He returned to New Zealand to join the Royal New Zealand
Ballet in 2011 and toured the South Island in TOWER Tutus
on Tour. Inspired by his mum and dad, Joseph aims to be the
best dancer he can be and finds his career both challenging
and incredibly rewarding. In his spare time he enjoys surfing,
playing guitar and piano and listening to music.
Born in Invercargill, HARRY SKINNER trained under Paula
Hunt in Wellington and at the Australian Ballet School. He
performed in the Australian Ballet's productions of Don
Quixote and Destiny. Harry joined the RNZB in 2008 and his
early roles included Peter's Shadow in Peter Pan (2009)
and Fritz in The Nutcracker (2010). 2011 saw him feature
in Verdi Variations and The Sleeping Beauty. Favourite roles
in 2012 included 28 Variations on a Theme of Paganini
and Balanchine's Who Cares? and he caught critics' eyes
in Giselle at the end of 2012, with Theatreview reporting
that 'Maree White and Harry Skinner establish wonderful
characters during the female and male ensembles.' Harry
is studying extramurally for a degree in political science at
Massey university.
MAYU TANIGAITO was born in Tochigi, Japan, and made her
first trip to New Zealand in 2011 to audition for the RNZB.
Mayu started her dance training at the age of 6 at the Takahashi
Wakako Ballet Studio, and continued her studies at Antwerp
Royal Ballet School in Belgium, and the Rock School for
Dance Education in the uSA. In 2007 she was a finalist in the
Youth America Grand Prix, the world's largest student ballet
scholarship competition. Her professional career began in 2008
at North Carolina Dance Theatre II where she danced roles in
Snow White, Othello and The Nutcracker. Mayu's first season with
the RNZB was 2012's NYC: Three Short Ballets from the Big Apple,
creating a memorable first impression with a well-received
performance in Larry Keigwin's Final Dress. She ended the year
with performances as Myrtha, Queen of the Wilis in Giselle.
BRYN wATKINS grew up in Orange, California, in the united
States. She began her ballet training at the West Coast
Conservatory of Ballet at age five. At age eleven she began
training at Ballet Pacifica with noted teachers Amanda McKerrow
and John Gardner. In 2008, Watkins enrolled at the Maple
Conservatory of Dance where she trained for five years under the
direction of Charles Maple and others. She has attended summer
intensives at Ballet West, Houston Ballet, and American Ballet
Theatre, all on scholarship. Watkins was a Finalist in the Music
Center Spotlight Awards, a Gold Level YoungArts Winner, and a
Presidential Scholar in the Arts nominee. She joined American
Ballet Theatre as an apprentice in September 2012 and was
promoted to the corps de ballet in May 2013. She joined the
Royal New Zealand Ballet at the end of 2013.
MAREE wHITE joined the Royal New Zealand Ballet at the
end of 2006 for the TOWER Season of Giselle, dancing the
role of Queen of the Wilis. At 16, after being awarded her
RAD Solo Seal, the Cairns native received a scholarship to
study at the Wiener Staatsoper Ballet School and danced
with the Wiener Staatsoper Ballet. Maree was also a soloist
at the Deutsche Oper am Rhein in Dusseldorf for six years.
Since joining the RNZB she has danced the role of Mercedes
in the Meridian season of Don Quixote, Queen Sylph in
the Meridian Season of La Sylphide and Carabosse in the
Meridian season of The Sleeping Beauty. Her performance
in Saltarello in 2009's TOWER Tutus on Tour was described
as 'heartstoppingly exquisite'. 'Maree White's portrayal of
the Black Fairy as an almost sultry temptress produced a
beautiful contrast' — Otago Daily Times.
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the royal new Zealand Ballet would like to acknowledge the generous
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VIOLINS I
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concertmaster
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associate concertmaster
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CLARINETS
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CELLI
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TIMPANI
BASSOONS
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William May
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PERCUSSION
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associate PrinciPal
xiao-Dan Zheng
Trevor Handy
Roger Lebow
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BASSES
David Young
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Judith Farmer
HORNS
Steven Becknell
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ORCHESTRA PERSONNEL
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about
giselle
By elizabeth Kaye
Romantic ballets are studies in enchantment.
They transport us to mystical realms where
forests abound with entrancing sylphs and
maidens arise from their graves to dance
from dark to dawn.
Giselle is a romantic ballet in two distinct ways: it is
romantic in the classic sense and it is also a ballet of the
Romantic era which flourished in the first half of the 19th
century. These ballets owed their existence to the advent
of the pointe shoe which came into use in the early 1800’s.
Made of satin, secured with ribbons, pointe shoes allowed
a ballerina to float and soar across the stage, seemingly
propelled by some otherworldly magic. Such ethereal and
gossamer creatures were the ideal heroines of Romantic
ballets which were founded in the era’s preoccupation
with the supernatural.
Giselle was created in 1841 for Carlotta Grisi, a beguiling
and surpassingly delicate ballerina who had been trained
by her lover, the dancer and choreographer Jules Perrot.
Grisi’s most besotted admirer was the romantic poet,
Theophile Gautier. Determined to get her attention, he
resolved to present her with a ballet story perfectly suited
to her gifts. Wisely, he chose a plot based on Heinrich
Heine's popular tale Giselle ou Les Wilis for Grisi was the
rare ballerina who possessed Giselle’s elusive mix of
fragility and fire.
Royal New Zealand Ballet Giselle, Act II: Wilis with Myrtha and Hilarion. Photo by Maarten Holl.
more aBout this ProGram
more aBout this ProGram
Working with the librettist Vernoy de Saint-Georges,
Gautier conceived a story of such magic and power that it
inspired the composer Adolphe Adam to set it to music in
a single week. The sublime dances of the corps de ballet
were created by the ballet master Jean Corelli; Perrot
choreographed the leading roles of Giselle and Albrecht.
From its first performance in Paris, Giselle was a sensation.
It gave Carlotta Grisi the role with which she would always
be associated, and secured her place among the most
revered and stellar Romantic ballerina’s. She expressed
her gratitude to Gautier by leaving Perrot for him.
Grisi had many fine qualities; loyalty was not one of
them. Eventually, craving a more aristocratic partner, she
ran off and married Prince Leon Radziwell. Gautier was
devastated. unable to sever his tie to her, he married her
sister; years later, on his deathbed, his final words were,
“Carlotta…Carlotta.”
The ballet Gautier conjured for Grisi is a parable about
forgiveness and selfless love and the way in which these
elevated virtues can save a soul, and redeem a life.
Giselle is a shy and delicate peasant girl who falls in
love with a young man lately come to her rural village.
He appears to be a peasant, but is a nobleman, Count
Albrecht. Smitten with Giselle and, seeking to woo her
despite impassable class barriers, Albrecht attires himself
in peasant garb to obscure his true identity.
Albrecht is charming but he is also a careless and pampered
youth who has never had to suffer the consequences of
his cavalier behavior. He vows his love to Giselle though
he is betrothed to a woman of noble birth. When Giselle
discovers his willful duplicity, she goes mad and dies.
Albrecht, stunned by guilt and grief, makes his way to her
grave in a moonlit glade at the edge of the forest.
Giselle has been initiated into the Wilis, (pronounced
Willies) a cadre of supernatural maidens who died of
heartbreak after being left at the altar by feckless fiancés.
Vengeful yet lovely, the Wilis roam the forest at night,
ensnaring young men and compelling them to dance
themselves to death. They capture Albrecht but Giselle
protects him from this gruesome fate by dancing with him,
rousing him, urging him to go on until dawn breaks at which
time the Wilis lose their power. When morning bells chime
at last, Albrecht understands that Giselle has forgiven him;
her forgiveness is an act of grace, for grace is an unearned
gift and he knows he does not deserve to be saved. Finally,
Giselle returns to her grave leaving Albrecht alone in the
forest, awed and humbled and forever changed.
"from its first performance in
paris, giselle was a sensation."
Dancing these roles is especially challenging because
Giselle and Albrecht are transformed as they proceed from
act one to act two: the flesh and blood Giselle becomes a
diaphanous spirit; Albrecht, the callow youth, becomes a
repentant man who has learned the meaning of love.
All this has a singular power over audiences, who know too
well what it means to be the forgiver and the forgiven, the
betrayer and the betrayed. In this way, the audience sees
itself in both Albrecht and Giselle, who together represent
the eternal duality that comprises the human condition.
the music center staff
eXecutiVe staff
Stephen D. Rountree
Jim Bell
Gyasi Parker-Ross
PRESIDENT & CHIEF ExECUTIVE OFFICER
BOx OFFICE TREASURER
ADVANCEMENT COORDINATOR
Howard Sherman
Cheryl Brown
Karen Pogoda
ExECUTIVE VICE PRESIDENT
& CHIEF OPERATING OFFICER
MAJOR GIFTS OFFICER
ASSISTANT MANAGER, MEMBERSHIP
Lisa Whitney
Tom Bucher
Laura Recchi
FIRST ASSISTANT,
DIRECTOR, ANNUAL PROGRAMS
Gary Cannone
ADVANCEMENT wRITER
SENIOR VICE PRESIDENT,
FINANCE & CHIEF FINANCIAL OFFICER
Elizabeth Kennedy
wEB MANAGER
SENIOR VICE PRESIDENT, ADVANCEMENT
Joan Cumming
VICE PRESIDENT, PUBLIC RELATIONS
& COMMUNICATIONS
Renae Williams Niles
VICE PRESIDENT, PROGRAMMING
Mark Slavkin
VICE PRESIDENT, EDUCATION
Carolyn Van Brunt
VICE PRESIDENT, GUEST RELATIONS
the music center
enGaGement staff
Abegail Baguio
SENIOR COORDINATOR, ANNUAL PROGRAMS
Rebecca Baillie
PROGRAM MANAGER
Ellen Cheney
ASSISTANT VICE PRESIDENT,
ADVANCEMENT
Chris Christel
Michael Solomon
DIRECTOR OF PRODUCTION
ASSOCIATE VICE PRESIDENT,
PROGRAMMING
Amanda Hallman
ASSISTANT MANAGER,
DONOR EVENTS & STEwARDSHIP
Sharon Stewart
Abigail Hollingshead
Melissa Tan
COORDINATOR, INSTITUTIONAL GIVING
MANAGER, MARKETING
& COMMUNICATIONS
Melissa Joseph
PROGRAM MANAGER
Veronica Meza
ASSISTANT MANAGER, MEMBERSHIP
& ANNUAL PROGRAMS
Shane Morton
SECOND ASSISTANT,
Dorothy chanDler
PaVilion staff
HOUSE MANAGER
Demetra Willis
Steven Lee
HEAD USHERS
Jeff Des Enfants
DIRECTOR, SCHEDULING & EVENTS
Patrice Thomas
PRODUCTION MANAGER
Heather Toner
MANAGER, SOCIAL MEDIA &
PROMOTIONS
Lusine Vardanyan
ASSISTANT, MARKETING
& COMMUNICATIONS
COORDINATOR, MEMBERSHIP & STEwARDSHIP
CONTROLLER
Jim Payne
Jennifer Samsel
DIRECTOR, INSTITUTIONAL GIVING
Cassandra Nwokah
Benjamin Bank
Eveleen Samayoa
James Draper
MASTER OF PROPERTIES
Gary Earl
MASTER ELECTRICIAN
Lee Smilek
MASTER wARDROBE
MASTER AUDIO
Tim Conroy
MASTER CARPENTER
consultants to
Dance Presentations
The stage crew, wardrobe crew and
box office staff are represented by the
International Alliance of Theatrical
Stage Employees, Moving Picture
Technicians, Artists and Allied Crafts
of the united States of America and
Canada, AFL-CIO, CKC, Local Numbers
33, 768, and 857, respectively.
The House Managers employed by The
Music Center are represented by the
Association of Theatrical Press Agents
and Managers.
GRAPHIC DESIGN
Studio Fuse
PUBLICITY
Davidson & Choy Publicity
Profile
COMMITTED
SUPPORTIVE
RESPONSIVE
These are but a few of the words that describe The Ralph M. Parsons Foundation’s
partnership with The Music Center. For 25 years The Parsons Foundation has
supported The Music Center and its mission to be a leader in the performing arts
and in the community, providing opportunities for people of all ages to experience
the best in the performing arts as audiences, as participants and as creators.
Families enjoy a World City performance.
The Parsons Foundation has been a steadfast supporter
of a wide range of Music Center programs, from arts
education programs that help students learn important
analytical, communication and collaborative skills to
Active Arts programs that invite community members
to express their “inner artists.” The Foundation has,
without reservation, supported new initiatives—giving
The Music Center the flexibility to adapt to the changing
needs of Los Angeles—and at the same time sustained
vital programs for the community.
Community members participate in Active Arts' Drum Downtown.
The Foundation also gave significantly to the construction
of the Walt Disney Concert Hall. Parsons made the first
grant commitment to the building fund after Lillian Disney’s
initial gift and followed that pledge with a second grant that
doubled their investment in the project. The Music Center’s
impact and reach are possible only through committed,
supportive and responsive partners such as Parsons.
The Music Center thanks The Parsons Foundation for
its investment in The Music Center and its unwavering
commitment to Los Angeles.
About Ralph M. Parsons
Ralph M. Parsons evolved from being a fisherman’s son on Long Island to founder and leader of one of the world’s
largest and most influential engineering and construction companies. By the time Mr. Parsons died in 1974 at age 78,
the firm he founded near the end of world war II had completed a list of projects that reads like a history of industrial
and urban development in the 20th century. It built scores of major projects in more than 30 countries. In 1961,
he founded The Ralph M. Parsons Foundation as the charitable giving arm of his company that is today one of the
philanthropic leaders of Southern California.
Get inVolVeD
ways to Get inVolVeD at the music center
Families participate in an art-making workshop following a World
City performance.
Photo by Ryan Miller
Artists from Matthew Bourne’s Sleeping Beauty speak with students
attending a special matinee performance for Los Angeles schools.
the music center annual fund
music center leadership council (mclc)
Support The Music Center today and contribute to our vision of
ensuring that everyone in our community has the opportunity
to experience first-hand the transformative power of the arts.
Your unrestricted annual gift allows us to annually bring
arts education programs to more than 150 schools each year
including over 400 school assemblies. It also brings children and
families to The Music Center campus for student performances
and free family programming, and helps produce world-class
dance productions through Glorya Kaufman Presents Dance at The
Music Center. Membership opportunities begin at $75.
The Music Center Leadership Council is a support group
with monthly networking and social events. Composed
of business and community leaders who believe the arts
can promote future success in young people’s lives, MCLC
exclusively supports The Music Center’s arts education
programs, including its signature program—Spotlight.
Membership is by invitation and giving begins at $2,500.
Benefits include (depending on gift level) but are not limited to:
• invitations to exclusive rehearsals of dance engagements
• Passes to Spotlight master classes and semifinal auditions
• special seating and meet and greet with artists backstage at
a World City performance
• access to member/subscriber pre-performance lounges
• concierge ticket services for Dance at the music center
engagements
• invitations to attend opening night post-performance receptions
with artists from Dance at the music center engagements
Board of ambassadors
Our premiere leadership giving program, the Board of
Ambassadors plays a leading role in supporting The Music
Center's education, dance and interactive community programs.
Benefits include exclusive receptions and salons, concierge
ticket service for all Dance at The Music Center engagements,
and backstage tours at select performances. Membership
opportunities begin at $10,000.
center Dance arts (cDa)
Center Dance Arts members support Glorya Kaufman
Presents Dance at The Music Center and inspire thousands
of children through education outreach, school lectures
and demonstrations, community classes with Music Center
artists, open rehearsals and low cost ticket offers. Members
also attend exclusive events and interact with celebrated
dancers and other luminaries from the dance world.
Membership opportunities begin at $1,000.
spotlight
The Music Center’s Spotlight program is a nationally
acclaimed scholarship program for high school students in
the performing and visual arts. Each year, approximately
2,500 teens attend workshops, master classes and auditions,
with 16 selected to perform at the final Spotlight Awards
Performance at the Dorothy Chandler Pavilion. Members can
attend the Spotlight Awards Finale Performance and receive
special invitations to master classes. Giving opportunities
begin at $1,000.
For more information about getting involved, please call (213) 972-3333.
Profile
REMEMbERINg ThE PaST
aND ENSURINg ThE FUTURE
Roberta Turkat Honors Her Husband with a Legacy Gift
The Music Center has had thousands of supporters over
the years and as we approach our 50th Anniversary, we
are tremendously grateful for those who have been with
us since the beginning. Roberta Turkat is one such person.
When the Dorothy Chandler Pavilion opened its doors
in 1964, Roberta and her husband, Dr. Teviah “Terry”
Turkat, were there. But attending performances was only
the beginning. They also began supporting The Music
Center as often as possible. Roberta remembers the
first gift they made. “When my husband finished at Yale
Medical School, we were going to make his last student
loan payment to the school and noticed the amount
was the same as what The Music Center was asking to
become a Founder. So we sent that last payment to The
Music Center instead,” she says.
Their involvement didn’t stop there, however. They
became Founders in the truest sense of the word, joining
that illustrious group from day one. Terry also became a
member of the Fraternity of Friends and Roberta joined
The Blue Ribbon, actively helping these groups raise funds
for The Music Center. In addition, the Turkats supported
The Music Center’s signature program for talented teens,
Spotlight, even going as far as to provide scholarships for
the award winners to attend the Aspen Music Festival in
Colorado, where the family has a second home.
Roberta says. And now she is continuing that tradition
by bringing her grandchildren as well. She wants them
to know how much their grandfather did for The Music
Center and to have the same kinds of arts experiences
their parents had.
Executive Vice President Howard Sherman says he
became fast friends with Roberta after meeting her at
a Blue Ribbon luncheon. “We just hit it off immediately.
She has many stories about the early days of The Music
Center, and she and Terry have been so generous since the
beginning. Their lives have truly been entwined with the
life of The Music Center,” Howard says. “That’s why we’re
so grateful for this wonderful legacy gift to honor Terry.”
Roberta and Terry Turkat were there at the beginning of
a wonderful cultural journey fifty years ago. The Music
Center is honored to have Roberta’s friendship and
generous support as it approaches its golden anniversary
and begins its next fifty years.
Sadly, Terry passed away two years ago, but thanks to
Roberta’s generous legacy gift, he will always be a part
of The Music Center’s ongoing story. Not only did she
want to honor his memory, she also wanted to ensure
that the place they loved to go together would always
be here to present the best of the performing arts in
Los Angeles.
For Roberta, a legacy gift also has another meaning.
When her now grown daughters, Jennifer and Megan,
were young, she and Terry brought them to The Music
Center to see dance performances, classical concerts,
operas and plays. “We felt it was important to expose
our children to the arts at a young age so they would get
a cultural education you can’t find anywhere else in LA,”
Roberta Turkat, daughter Jennifer, and grandson Phillip at a special
Music Center celebration to honor Terry.
aBout center Dance arts
2013-2014 cDa
BoarD of Directors
Catharine Soros
• suPPort world class dance engagements
• insPire thousands of children through our education outreach—
PRESIDENT
school lectures/demonstrations, community classes with
artists, open rehearsals, and free or low-cost ticket offers
CHAIR
Jane Arnault-Factor
Susan Baumgarten
Samantha Davies
Hany Haddad
Joan Herman
Liz Levitt Hirsch
Patrick Kinsella
Be inspired, enriched and fascinated through
one-of-a-kind dance experiences. center Dance
arts offers members the opportunity to:
Dominique Shelton
Bradley Tabach-Bank
Alyce Williamson
Jane Jelenko
FOUNDING PRESIDENT
Liane Weintraub
FOUNDING CHAIR
• access exclusive events that enrich your passion for dance
• interact with celebrated dancers and distinguished
dance luminaries
Become a member at the $1,000, $2,500, $5,000 or $10,000 level
and enjoy such benefits as priority seating and concierge ticket
services for all dance engagements, exclusive post performance
receptions with artists and dancers, salons in private homes with
dance luminaries and the opportunity to travel internationally with
this dynamic group of dance aficionados!
For more information, call (213) 972-3359
or visit musiccenter.org/centerdancearts.
center Dance arts memBers (as of Dec 10, 2013)
$10,000 AND MORE
Susan Baumgarten
Joan A. Friedman, PhD
and Robert N. Braun, MD
Walter Chameides
Samantha Davies /
City National Bank
Hany Haddad / u.S. Bank
Joan Herman and Richard Rasiej
*Liz Levitt Hirsch
Sydney Holland
*Jane Jelenko and Bill Norris
Carol and Patrick Kinsella
Anita Mann Kohl
Mattie McFadden-Lawson and
Michael Lawson
Valeria Rico-Nikolov and
Nicholas Nikolav
Thibault and Sutton Stracke
Bradley Tabach-Bank
Sue Tsao
*Alyce and Warren Williamson
$5,000 - $9,999
Mary Agran
Jane Arnault-Factor
JoAnn and Wayland Bourne
Linda Maddocks Brown
Sharon Darnov
*Jennifer and Royce Diener
Lawrence N. Field
Lisa Field
Susan Friedman
Janice and Bernard Howroyd
Tatiana and Todd James
Joyce and Kent Kresa
Racquel and Bert Lewitt
Olivia and Anthony Neece
Fran and Ray Stark Foundation
Wendy Stark Morrissey
Ron Watson
$2,500 - $4,999
Fred Abdelnour / Enterprise
Rent-A-Car Foundation
Martin and Linda Blank
Karla and Richard Chernick
David Conney
Catherine Cristall
Milena Dostanich
Frederick and Leslie Gaylord
Anita Lorber
Shelley and Paul Miller
Nan Norwood
Jerry Rosenstock
Dominique Shelton
Laurie Vender
and Stephen Halper
Rosalinde and Arthur Gilbert
$1,000 - $2,499
Shirley Ashkenas
Karen and Bruce Ballenger
Leslie Castanuela Barnes
Susan Cherney
Anonymous
Helen and Steven Clarke
Theodore Cordes
Nancy Cotton
Tama and Paul Deitch
Bert and Leslie Deixler
Martin Freedman
Lewis and Genevieve Geyser
Marcy and Edgar Gross
Thea, Seaf and Clabe Hartley
Katinka and Eugene Holt
Ruby Hori
Jaycie Ingersoll
Franklin and Susanne Konigsberg
Jamie Bishton
and Christian Kraus
Harry and Ellen Levitt
Rey Lozano
Carla Malden
Carolyn and David Mandel
Kathy and Michael Moray
Wendy Moss
The Muriel Pollia Foundation
Ellen Pansky
David Richard Pullman
Michael Raedeke
Hadley and Lee Rierson
Helene Rosenzweig, M.D.
Thomas Safran
Maxine Savitz
Alan and Sherie Schneider
Phillip Sotel ◊
Carol Stein-Sterling
and James Sterling
*Allan and Roslyn Holt Swartz
Betty Weiner
William and Kim. Wardlaw
* Center Dance Arts charter member
Get inVolVeD
FlaSh baCk: opening night
Photo by Giselle Garcia
meet the artists with nederlands
Dans theater 1
Artists from Nederlands Dans Theater 1 with Renae Williams Niles
and Glorya Kaufman
Center Dance Arts members and Music Center Annual
Fund members joined the company of Nederlands Dans
Theater 1 for Meet the Artists following their opening
night performance on Friday, October 18, 2013. The
reception featured a discussion with Paul Lightfoot,
Artistic Director and Sol Leon, Choreographer,
and was moderated by Renae Williams Niles, Vice
President of Programming at The Music Center.
FlaSh FORwaRD:
meet the artists with Paul taylor
Dance company
Photo by Paul B. Goode.
saturday, april 12, 2014
Founders’ Room – Dorothy Chandler Pavilion
As an exclusive benefit of your Center Dance Arts membership,
join dancers and Artistic Leadership of Paul Taylor Dance
Company and other CDA and Annual Fund members for an
exclusive post-performance reception.
center Dance arts and the music
center gratefully acknowledge city
national Bank for their generous
support of the city national bank
salon series highlighting our
dance and education programs.
Eran Bugge and Robert Kleinendorst of Paul Taylor Dance Company
in Esplanade.
The Music Center gratefully acknowledges
The Blue Ribbon for their support of the
Royal New zealand Ballet's Giselle.
Profile
SUPERIOR gROCERS INSPIRES ChIlDREN
ThROUgh ThE aRT OF FlaMENCO
If you were to visit Belvedere Middle School this fall, you would see something a bit out of
the ordinary—classes of sixth, seventh, and eighth graders Flamenco dancing and having a
great time doing it. Thanks to a generous gift to The Music Center from Superior Grocers
and its president and CEO, Mimi Song, the students at Belvedere are learning an art form
that dates back 1,000 years and has traveled the globe.
A longtime patron of the arts, Mimi decided to make the gift when she learned about The Music Center’s arts education
program. “I knew that a lot of inner city children didn’t have exposure to the arts, so when I found out that The Music
Center had an arts education program I felt it was something we should support, especially in the areas of Los
Angeles that Superior Grocers serves,” Mimi says.
Mimi Song, president and CEO of Superior Grocers,
with students from Belvedere Middle School
Belvedere’s faculty chose the Flamenco program for their
10-week residency because they felt it was an art form
that their students would not normally be exposed to.
What makes this program so unique is the way it ties into
the existing curriculum. “The students get a geography
and history lesson by tracing the roots of Flamenco,
following the gypsies as they took it from east India and
Asia to Spain,” says Music Center teaching artist Linda
Andrade. “They use mathematics as they add beats and
sounds while they learn footwork, clapping, posture, and
hand and arm movements. And they also write poetry
using such elements as fire, wind, earth and color to
create a narrative that tells the story of the dance, both
happy and tragic.”
Linda says that Flamenco transmits emotion and energy and gives students a safe way to express their creativity.
“Students are normally very reluctant at the beginning to show emotion and express themselves,” she says. “By the
third or fourth class it’s amazing to see them open up like flowers.” Sixth grade teacher Diana Martinez, whose class
is one of four in the program, says that students benefit in numerous ways. “They learn presentation skills, how to
speak in public with confidence, and how to be better listeners and analyze what they’ve learned. And they respond
enthusiastically because Linda is so patient and compassionate with them.”
The residency culminated in December with the students performing in a gypsy style fiesta for their parents and
peers. The finale involved a lively community dance as students pulled audience members onstage to teach them
Flamenco. During one of their rehearsals, Mimi attended the class and was delighted by the students’ enthusiasm
and even joined in as they showed her their moves. “I was so touched by these children and what they were doing.
Growing up in Korea I didn’t have many opportunities to experience the arts, which is why I love The Music Center.
I’m so happy to be able to play a part in giving children an arts education they might not get otherwise.”
The Music Center is grateful to Superior Grocers and Mimi Song for their support of arts education. Annual donor
contributions enable The Music Center to bring the visual and performing arts to more than 60,000 students
throughout Los Angeles.
To learn more about supporting arts education, please contact Cheryl Brown at (213) 972-3316.
Blue riBBon
blUE RIbbON:
In her remarks at the opening ceremonies of The Music
Center in 1964, Dorothy Buffum Chandler said “The Music
Center buildings are completed. But the most challenging,
the most exciting, perhaps the most difficult tasks – that
of forging them into a truly great center of performing arts
– has only now begun.” And so, in 1968, she gathered the
most outstanding women leaders in Los Angeles to form
“The Amazing Blue Ribbon” with the goal of filling the
halls of The Music Center with world-class performances.
Since then, through intelligent and determined leadership,
The Blue Ribbon has continued Mrs. Chandler’s dream by
raising over $71 million for The Music Center and its resident
companies. Blue Ribbon’s impact goes beyond just what
Dorothy Chandler on the opening night of The Music Center.
it gives collectively as a group. Members passionately
commit their finances, time, and energy to supporting the performing arts and arts education. Many Blue Ribbon
members actively participate with the resident companies as season ticket holders, board members and gala chairs.
Photo by Harry Chandler Collection
aMazINg wOMEN, POwERFUl gIVINg
Blue Ribbon members hold a deep conviction that the joy of the arts has a powerful impact on the lives of all
Angelenos. Since 1970, the annual Blue Ribbon Children’s Festival has brought over 800,000 Los Angeles County 5th
graders to The Music Center - many to view a live performance for the first time.
On November 21st, The Blue Ribbon celebrated 45 years of friendship through philanthropy by honoring its eighteen
active founding members during a triumphant reception and luncheon at the historic California Club. The day was
also marked by the release of “Blue Ribbon: Amazing Women, Powerful Giving,” a book by author Betty Goodwin
chronicling the group’s history and accomplishments.
Chairman Connie Gavin, President Carla Sands and former Presidents
Judy Krantz, Joan Hotchkis, and Phyllis Hennigan.
Photo by Donato Sardella
City Councilman Tom LaBonge, Carla Sands,
and County Supervisor Zev Yaroslavsky.
Photo by Donato Sardella
City Councilman Tom LaBonge and County Supervisor Zev Yaroslavsky presented City and County proclamations to
president Carla Sands, with the County proudly declaring November 21st “Blue Ribbon Day” – an honor befitting a
deserving organization!
spotlight
CONgRaTUlaTIONS TO OUR SPOTlIghT DaNCERS
TakINg FlIghT all OVER ThE wORlD!
ThEN
Toshiro Abbley, Koninklijk Ballet Vlaanderen (Belgium)
Aria Alexzander, Houston Ballet
Charlie Anderson, The Royal Danish Ballet
Gregory Arakelian, Nevada Ballet
Stacey Aung, Norrdans Dans in Sweden
Jon Bond, Cedar Lake Contemporary Ballet
Skylar Campbell, The National Ballet of Canada
Norbert de la Cruz, Aspen Santa Fe Ballet and Alvin
Ailey New Directions Choreography Lab
Tyler Donatelli, Houston Ballet
Ashley Ellis, Principal, Boston Ballet
Heather McGreevey (Toner), Walter Grauman, and
Misty Copeland at the Spotlight Awards in 1997
Emily Entingh, Boston Ballet
Jennifer Grace, Tulsa Ballet
NOw
Dylan Gutierrez, The Joffrey Ballet
Nicole Haskins, Smuin Ballet
Quenby Hersh, The Scottish Ballet
Anila Mazary, The Metropolitan Opera
Scott Myrick, on tour with Katy Perry
Kris Nobles, Complexions Contemporary Ballet
Hannah Schiller, Nevada Ballet
Michael Tyus, Pilobolus Dance Theater
Bryn Watkins, the Royal New Zealand Ballet
Jennifer Whalen, American Ballet Theatre
Joseph Wiggan, Cirque Du Soleil
Photo: Gene Schiavone
Jennifer Stahl, San Francisco Ballet
Misty Copeland in Le Corsaire with American Ballet Theatre
Get inVolVeD
hElP US TURN bIg DREaMS
INTO bRIghTER FUTURES
Spotlight is a nationally acclaimed scholarship and
arts training program for high school students in the
performing and visual arts. The program provides
workshops, live audition and interview opportunities
with detailed written feedback, master classes by
professional artists, and a culminating showcase of the
finalists on the stage of the Dorothy Chandler Pavilion.
“Spotlight is one of the most important and beneficial experiences
for young artists. The program changed my life and opened up a
new career path that I never could have imagined taking.”
Be sure to save the date for this year’s finale performance
on April 26, 2014. Spotlight events for donors take place
throughout the year, and include master classes, intimate
showcase performances, and semifinal auditions. If you would
like to get involved, please contact us at SpotlightSupport@
musiccenter.org or (213) 972-4344.
Spotlight Non-classical Dance 2013 Winner Donovan Okimura
Photo: Alex Pitt
--Thang Dao, Choreographer
the music center leadership council is a social and
networking group of southern california's professional,
business, and community leaders who share a passion
for the performing arts. the leadership council supports
the music center’s nationally-recognized arts education
programs, with a special interest in spotlight. members
and their guests enjoy exclusive events that take place all
over los angeles. individual memberships are available
by invitation.
The Music Center Leadership Council was founded by leading
philanthropists in 1978 as Fraternity of Friends of The Music Center.
For more information about The Music Center Leadership Council, call
Laura Recchi at (213) 972-3346 or email [email protected].
Leadership Council members Rob Cerny, Chuck Block, Bennett Pozil
and Pat McCabe
Photo: Giselle Garcia
CONNECT. INVEST. lEaD.
GranD Patrons
CElEbRaTINg OUR NEwEST gRaND
PaTRONS OF ThE MUSIC CENTER
This month The Music Center honors its most distinguished group of supporters, our Grand Patrons of The
Music Center. Our most recent Grand Patrons will be recognized at an intimate dinner and viewing of the
new Grand Patron panel located on the front of the Dorothy Chandler Pavilion.
The Grand Patrons of The Music Center are
performing arts supporters who have donated $1
million or more to The Music Center and its four
resident companies - Center Theatre Group, LA
Opera, LA Phil and Los Angeles Master Chorale.
More than 190 individuals, corporations and
foundations have stepped forward in this way to
further the journey begun by Dorothy Chandler
almost fifty years ago.
Kiki and David Gindler are one such couple. Both grew
up in Los Angeles and their love for The Music Center
began when they were children. David remembers
when he was in high school and playing bass in the
school orchestra (“I wasn’t very good,” he concedes),
he got his first Music Center subscription—a student
subscription to the LA Phil in 1976. “I would drive my
car, a used, gas-guzzling 1973 Monte Carlo, downtown
to the Dorothy Chandler Pavilion, where I had seats in
the very top tier. I was sure that I was the coolest kid in
the place.” From then on, David was hooked.
Kiki, too, remembers an early Music Center experience
that affected her deeply. “In 1977 I saw Zoot Suit at
the Mark Taper Forum. I’m of Mexican descent and a
first-generation American so that show really spoke to
my heritage. And the Dorothy Chandler is so special to
me because my mother was a Canadian citizen and was
sworn in as a u.S. citizen there.”
The Gindlers said they became philanthropists
because of their love of the performing arts. “If you
benefit from the arts in ways that are transcendent,
you want to share that with others,” David says. “If
we want to ensure that LA has a vibrant performing
arts community, then we all need to recognize the
importance of The Music Center. It touched our lives
as kids and we can’t imagine life without it now.
And it’s not just about performance, it’s also about
education and community outreach.”
The Music Center is fortunate to have so many
Grand Patrons who believe in the importance of the
performing arts to our community. We are honored
to applaud our recent Grand Patrons and celebrate
their support and the significant roles they play in
the life of The Music Center.
we are pleased to honor our newest Grand Patrons of The Music Center
Margaret and David Barry
Betty and Fred Hayman
Linda and Maynard Brittan
/ Traub-Brittan Family Foundation
David and Kay Duke Ingalls
Mary Levin Cutler
Mark Houston Dalzell
Doris Duke Charitable Foundation
Kiki and David Gindler
Max H. Gluck Foundation
The Marcia Israel Foundation
Dan Murphy Foundation
Cecille and Michael Pulitzer
Ronus Foundation
The Shubert Foundation
Southern California Jaguar
Dealerships
Marilyn and Eugene Stein
Barbara Augusta Teichert
Carol Vernon and Robert Turbin
Christopher V. Walker
Lenore and Richard Wayne
our thanKs
hONORINg
aNDREa VaN DE kaMP
The Music Center is honored to recognize
Andrea Van de Kamp and her years of
leadership with the dedication of the
Andrea L. Van de Kamp Artists Entrance
at the Dorothy Chandler Pavilion.
Diane Van de Kamp, Andrea Van de Kamp and the Honorable John Van de Kamp
County Supervisor Zev Yaroslavsky, Brindell Gottlieb, Andrea Van de Kamp, Music
Center Board Chair Lisa Specht and Music Center President & CEO Stephen Rountree
In addition to her decades of service to The Music
Center - as Chairman of The Music Center Board
of Directors, as the champion of the campaign
to raise funds for the building of Walt Disney
Concert Hall, and as a force in the life of Los
Angeles’ cultural community - Andrea has had a
profound effect on not only The Music Center but
on the entire Los Angeles community. On behalf
of everyone who has greatly benefited from her
leadership and generosity, The Music Center
offers deepest thanks to Andrea Van de Kamp.
In MeMorIaM
The Music Center mourns the loss of our dear friend and patron
Diane Disney Miller
1933-2013
the music center’s suPPorters
the music center thanks its supporters who gave $1,000 or more from Dec 1, 2012, to Dec 1, 2013.
$250,000 AND UP
The Ahmanson Foundation
The Annenberg Foundation
The James Irvine Foundation
Glorya Kaufman Dance Foundation
$100,000 - $249,999
Bank of America / Fung Der
Helen and Peter Bing
The Blue Ribbon
Geri Brawerman
Dorothy Chandler New
Program Fund
Weingart Foundation
Wells Fargo / Joseph Rice
$50,000 - $99,999
Robert Abernethy
Adele and Gordon Binder
The Boeing Company
The Capital Group Companies
Charitable Foundation /
Darcie Denkert Notkin
and Shelby Notkin
City National Bank /
Rose and Michael Pagano
Ruth and Charles I. Gold
Sydney Holland
Marcia Israel Foundation
The Los Angeles Fund
for Public Education
Cindy Miscikowski
National Endowment for the Arts
The Ralph M. Parsons Foundation
Thomas Weinberger
and Leslie Vermut
Alyce and Warren Williamson
Max H. Gluck Foundation
Nancy and Patrick McCabe
Moss Foundation
Max Ramberg
Allison and Richard Roeder
Lois Rosen
Thomas Safran
The Schow Foundation
Joni and W. Clark Smith
Marc and Eva Stern Foundation
Thibault and Sutton Stracke
Julia Strickland and Timothy Wahl
Superior Grocers
Toyota Motor Sales uSA, Inc.
u.S. Bank / Hany Haddad
union Bank
I.N. and Susanna H. Van Nuys
Foundation
Walter Lantz Foundation
$10,000 - $24,999
The Albert Parvin Foundation /
Phyllis Parvin
Ann and Gordon Getty Foundation
Wallis Annenberg
Beverly and Frank Arnstein
Cecile and Fred Bartman Foundation
Susan Baumgarten
Pamela and Dennis Beck
Bernard Beiser
David C. Bohnett
Selina and Brian Boxer Wachler
Joan A. Friedman, PhD and
Robert N. Braun, MD
Carsey Family Foundation
Walter Chameides
Ted and Beth Chanock ◊
City National Bank /
$25,000 - $49,999
Samantha Davies
Louise and John Bryson
The Coca-Cola Company
California Community Foundation /
Laurie and Mark Cohen
Preparing Achievers for
City of LA Department
Tomorrow Fund
of Cultural Affairs
The Walt Disney Company
Gina DiBona
Louise and Bradford Edgerton
Maude and Richard Ferry
Edison International
Gladys Turk Foundation
Entravision Communications
Lenore and Bernard Greenberg
Corporation / Walter ulloa
Joan Herman and Richard Rasiej
and Alexandra Seros
Ann and Stephen Hinchliffe Jr.
Helen Funai Erickson
Liz Levitt Hirsch
Kiki and David Gindler
Gloria and Glen Holden
Joyce and Fred Hameetman
James A. Doolittle Foundation
HuB International / Kagan-Kozberg
Jane Jelenko and Bill Norris
Dona Kendall
Randi and Richard Jones
Carolbeth and
Morton Kay
Ambassador Lester Korn
The Kenneth T. and Eileen L. Norris
KPMG LLP / MegAnn and Craig Ellis
Foundation
Carol and Patrick Kinsella
and Michael Lawson
Anita Mann Kohl
Lee Graff Foundation
Sandra Krause
Los Angeles County Arts Commission
and William Fitzgerald
Nigel Lythgoe
Joyce and Kent Kresa
The Louis and Harold Price
Foundation
The Lucille Ellis Simon Foundation
Macy's
Gary Malouf
Manatt Phelps & Phillips, LLP /
Lisa Specht and Ron Rogers
Maria V. Altmann Foundation
Martin Massman
Barbara and Buzz McCoy
Beth and Leslie Michelson
The Morrison & Foerster Foundation
Musick Peeler & Garrett /
Neal Millard
New England Foundation for the Arts
Valeria Rico-Nikolov
and Nicholas Nikolav
Occidental Petroleum Corporation
Robert Olsen ◊
Pacific Foundation Inc.
The Jay & Rose Phillips Family
Foundation of California
Karen Kay Platt
and Lawrence B. Platt
Reed Smith LLP / Kurt Peterson
The Rosalinde & Arthur Gilbert
Foundation
The Rose Hills Foundation
Sidley Austin LLP
Bradley Tabach-Bank
Cynthia Telles
Sally and James Thomas
Sue Tsao
Franklin and Betsy ulf
Janis and William Wetsman
Misty Widelitz
$5,000 - $9,999
Act 1 Personnel Services /
Janice and Bernard Howroyd
Mary Agran
Jane Arnault-Factor
Barry Baker
Avery and Andrew Barth
Ambassador Frank and Kathy Baxter
Lynn A. Booth
JoAnn and Wayland Bourne
Stacey and Jeryl Bowers
Linda Maddocks Brown
Joan and Allan Burns
Debbie and Jim Burrows
California Arts Council
Bridget Baker and Robert Cerny
Chevron Corporation
Chubb Custom Market, Inc.
Colburn Foundation
Alison Bryan Crowell
and Richard Crowell
Sharon Darnov
Suzanne and Robert Davidow
Patricia Devin
Jennifer and Royce Diener
Maxine Dunitz
Judith and Jerrold Felsenthal
Lawrence N. Field
Lisa Field
Bobbi and Henry Fields
Susan Friedman
Louis Goren
Mary Beth and Russ Hagey
Kevin Hanley
Mary Ann Hunt-Jacobsen
Frederic and Ingrid Ingram
Tatiana and Todd James
Susan and Michael Jeffries
Gerald Katell
Jo Ellen and Stephen Lee
Racquel and Bert Lewitt
Cathy and Mark Louchheim
Claude and Alfred Mann
Claudia and Michael Margolis
Isidore and Penny Myers Estate
Olivia and Anthony Neece
Carey Pearlman and Tracy Albert
Marni and Bennett Pozil
Phyllis and Henry Present
Jill and Dennis Roach
Fredric Roberts
Larraine and Clive Segil
Joan and Arnold Seidel
Jeneane Shield
Randy and Susan Snyder
Wendy Stark Morrissey
Transamerica Insurance
and Investment Group
Elinor and Rubin Turner
Kay and Richard Van Horn
Ron Watson
WHH Foundation
Courtney and David Zifkin
$1,000 - $4,999
Fred Abdelnour
Gay and Harry Abrams
Marc Ackerman
Alice and Julius Kantor
Charitable Trust
Alphonse Burnand & Charles
Partridge Scholarship Trust
Charles and Donna Altmann
Dean V. Ambrose
Margot and Mark Armbruster
Shirley Ashkenas
Christine Adams and James Asperger
Association of Performing Arts
Presenters
Ricki and Zane Averbach
Karen and Bruce Ballenger
Jackie and Howard Banchik
Jeffrey and Janice Beckmen
Paul Beigelman
David Bender
Marjorie Bender
Miles and Joanne Benickes
Lanie Bernhard
Marlene and Brian Billington
Jamie Bishton and Christian Kraus
Martin and Linda Blank
Charles Block
Rosanna Hirshon Bogart
Jean Bonini
Deborah and Gabriel Brener
Andrea and Henry Burroughs
Capezio Ballet Makers Dance
Foundation Inc.
Judy Carroll
Casey & Sayre Inc.
Leslie Castanuela Barnes
Susan Cherney
Karla and Richard Chernick
Arthur and Katheryn Chinski
Chubb & Son, Inc.
Helen and Steven Clarke
Janice Clifford
Daniel Clivner and Steven Cochran
Jane and Lawrence Cohen
Ann and Philip Colburn
David M. Conlon
David Conney
Barry Cooper
Stephen Corday
Theodore Cordes
Nancy Cotton
Leah Coulter
Catherine Cristall
Morris Darnov
Eunice David
Harold and Nadine Davidson
Nancy and Donald de Brier
Tama and Paul Deitch
Bert and Leslie Deixler
Milena Dostanich
Robin and Michael Dreyer
Margaret and Jerrold Eberhardt
Marcel and Doris Einhorn
Kimberly and John Emerson
Enterprise Rent-A-Car Foundation
Robert and Vana Farina
Joy and Jerome Fein
Joan and William Feldman
Brian and Cindy Flame
Nanette and Burton Forester
Martin Freedman
Julie Waxman and Seth Freeman
Gerald Friedman
Diane Futterman
Susan and Franklin Garfield
Frederick and Leslie Gaylord
Herbert and Beverly Gelfand
General Electric Foundation
Lewis and Genevieve Geyser
Elaine & David Gill
Jeffrey and Cecilia Glassman
Doris Gold
Stanley and Ilene Gold
Elaine and Bram Goldsmith
Julie and Bruce Goldsmith
Roslyn and Abner Goldstine
Marjorie Goodson
Marcy and Edgar Gross
Renee and Paul Haas
Roberta and Bruce Hammer
Philip and Kyoko Handler
William and Ann Harmsen
D. Alan Harris
Thea, Seaf and Clabe Hartley
Hathaway Dinwiddie
Construction Co.
Betty and Fred Hayman
Mary Ann and John Heidt
Drs. Vikki and Sidney Helperin
Ronald Holliman
Katinka and Eugene Holt
Katie and Philip Holthouse
Ruby Hori
Joan and John F. Hotchkis
Jaycie Ingersoll
Larry and Cindy Iser
Len and Nancy Jacoby
Linda and Jerome Janger
Moira Johnson
Sydney and Peter Julien
Julie and Richard Kagan
Cheryl and David Karton
Don Kates
Cari and Marty Kavinoky
Suzanne and Richard Kayne
Anita and Fred Kemmerling
Paul and Susanne Kester
Jeanie J. Kim
Nadine and Robert Kirkpatrick
Gai Klass and Michael Stern
Franklin and Susanne Konigsberg
Kathleen McCarthy Kostlan
Joanne Kozberg
Judith Krantz
Rini and Arthur Kraus
Suzanne and Michael Kraus
Samuel and Carly Landis
Steven and Anita Layton
Ali and Anu Leemann
CC Pulitzer-Lemann
and Monte Lemann II
Harry and Ellen Levitt
Jody and David Lippman
Anita Lorber
Marlene and Sandy Louchheim
Rey Lozano
Carla Malden
Carol and Douglas Mancino
Carolyn & David Mandel
Barbara and Joel Marcus
Pauline Marks
Ilene and J. Howard Marshal III
Pauline and Roger Mayer
McColl Partners
Kathleen and Peter McCoy
McMaster-Carr Supply Company
Irene Mecchi
Linda and Sheldon Mehr
Metropolitan Associates
Carolyn Miller
Barbara and Fred Miller
Shelley and Paul Miller
Haydee and Carlos Mollura
Bob and Val Montgomery
Kathy and Michael Moray
Wendy Moss
Merle and Peter Mullin
The Muriel Pollia Foundation
Ann and Greg Myer
Abby and Alan Myerson
Harry and Cheryl Nadjarian
Monica Nelsen
Richard Neu
Richard and Chris Newman
Sean and Davina O'Donnell
Ronald Olson
Alan Oppenheimer
Marti and H. Tony Oppenheimer
Nancy Rahnasto and Alfred Osborne
Miao Pan
Ellen Pansky
Jeffrey and Nancy Paul
Rosalyn Laudati and James Pick
Nina and Leo Pircher
Anne and Arnold Porath
Pamela Powell
Probity International Corp.
/ Robert Zarnegin
David Richard Pullman
Michael Raedeke
Simon Ramo
Vicki Reynolds and Murray Pepper
Hadley and Lee Rierson
Ricki and Marvin Ring
Sharon and Nelson Rising
Rodriguez, Horii, Choi
& Cafferata LLP
Nancy and Brad Rosenberg
Jerry Rosenstock
Alison and Larry Rosenthal
James and Laura Rosenwald
Helene Rosenzweig, M.D.
Deane and Joyce Ross
Carol and Steve Rountree
Suzanne and Paul Rubenstein
Maggie Russell
Patricia and Daniel Ryan
Peggy and Harvey Saferstein
Maralee Beck and Andrew Safir
Desiree and Joel Samuels
Carla and Fred Sands
Maxine Savitz
Fred Schiffman
Alan and Sherie Schneider
Janet and Michael Schwartz
See's Candy Shops, Inc.
Dr. and Mrs. P.K. Shah
Dominique Shelton
Traci Shelton
Shannon Shih
Barry and Dorris Silverman
Ruth and David Simon
Grazyna and William Simon
Lucerne Snipes
Phillip Sotel ◊
Sprinkles Cupcakes Inc.
Carol Stein-Sterling
and James Sterling
Amanda and Nicholas Stonnington
Stratton-Petit Foundation
Lynda Lamberti Stubblefield
Allan and Roslyn Holt Swartz
Thornton Foundation
Karen Todman
Reva and William Tooley
Sorrell and Linda Trope
Catherine and Leonard unger
Joanne and Johannes Van Tilburg
Laurie Vender and Stephen Halper
John and Gillian Wagner
Wallis Foundation
Mr. and Mrs. Wardlaw
Hope Landis Warner
Hope Warschaw
Ronald and Lisa Weckbacher
Betty Weiner
Brian Weinstock
Daniel and Vinnet Weintraub
Eleanor Weintraub
David Weiss
Geoffrey and Susan Wharton
Patty and Richard Wilson
Rosalind Wyman
Gillian Wynn
James Zapp and Beth McGlynn
Howard and Marcie Zelikow
Arnold and Ellen Zetcher
Ruth Ziegler
Craig and Jennifer Zobelein
Arline Zuckerman
… and all of our supporters who
choose to remain anonymous.
◊ Deceased
we strive to acknowledge all of our supporters appropriately. should you see an error or have questions, please call (213) 972-3374.

Publication - Music Center

Transcription

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