The National Ballet of Canada | Skylar Campbell is Pinocchio

Skylar Campbell, Emma Hawes and Piotr Stanczyk in rehearsal for Pinocchio. Photos by Karolina Kuras

The National Ballet of Canada | Skylar Campbell is Pinocchio

Skylar Campbell in Pinocchio. Photo by Karolina Kuras
Skylar Campbell in Pinocchio. Photo by Karolina Kuras

World Premiere by Will Tuckett March 11 – 24

Karen Kain, Artistic Director of The National Ballet of Canada, today announced that First Soloist Skylar Campbell will dance the title role in Pinocchio on opening night. Created by British choreographer Will Tuckett, the new full-length production makes its world premiere March 11 – 24, 2017, opening the company’s Winter Season at the Four Seasons Centre for the Performing Arts.

Skylar Campbell, Emma Hawes and Piotr Stanczyk in rehearsal for Pinocchio. Photos by Karolina Kuras
Skylar Campbell, Emma Hawes and Piotr Stanczyk in rehearsal for Pinocchio. Photos by Karolina Kuras
Skylar Campbell, Emma Hawes and Piotr Stanczyk in rehearsal for Pinocchio. Photos by Karolina Kuras
Skylar Campbell, Emma Hawes and Piotr Stanczyk in rehearsal for Pinocchio. Photos by Karolina Kuras

Mr. Campbell has danced the title roles in Nijinsky and Le Petit Prince, the White Rabbit in Alice’s Adventures in Wonderland, Peter/The Nutcracker in The Nutcracker and Florizel in The Winter’s Tale, among others. Born in Laguna Beach, California, Mr. Campbell joined the National Ballet in 2009 and has been a First Soloist since 2015.

Mr. Tuckett is renowned for his inventive story-telling. His Pinocchio is a humourous, moving and often dark re-telling of the classic tale, capturing the adventures of the wooden boy with inventive choreography and stagecraft.

Set and costume designer Colin Richmond has been working closely with the National Ballet’s Wardrobe and Production Departments to create the world of Pinocchio. The ballet will include some Canadiana with 23 Lumberjacks with 23 axes, 1 Mountie, 2 Beavers, 4 Raccoons, 1 Nova Scotia lighthouse and 2 Niagara Falls tourists.

Additional facts and figures:

Length Pinocchio’s nose grows when he tells a lie: 12 inches

Pinocchio, Gepetto and the Blue Fairy all fly making Pinocchio the third production in the company’s repertoire with flying after La Fille mal gardée and The Red Shoes.

Number of roles performed by 43 dancers in each show: 153

Number of wardrobe staff to build the 153 costumes: 35 plus 3 volunteers

Amount of feathers in the Blue Fairy wings: 520

Pinocchio is set to a commissioned score by Paul Englishby and libretto by Alasdair Middleton with lighting design by Oliver Fenwick and projection design by Douglas O’Connell.

More casting to be announced shortly.

2017 Vail Dance Festival Celebrates Women Choreographers

2017 Vail Dance Festival Celebrates Women Choreographers

“The ballet is a purely female thing; it is a woman…” – George Balanchine


Traditionally, ballet choreography has been a man’s world, and, still is in many dance companies. Damian Woetzel, Artistic Director of the Vail Dance Festival, is about to break that age-old tradition, as he presents an entire evening at the 2017 Vail Dance Festival dedicated to women choreographers.

Woetzel is again pushing the boundaries with this season’s NOW Premieres: Celebrating Women Choreographers (Mon., Aug. 7, 7:30pm Gerald R. Ford Amphitheater, Vail), which will present and applaud the work of female choreographers with new commissions. The choreographers to be featured include:


  • New York City Ballet Principal Lauren Lovette
  • Neoclassical and Contemporary Ballet Choreographer Claudia Schreier
  • Acclaimed Modern Dance Choreographer Pam Tanowitz
  • Tap Dance Revolutionary Michelle Dorrance.



Winnipeggers will be cheering for a different kind of Jets from March 1-5 as the Centennial Concert Hall will house the Winnipeg premiere of Alberta Ballet’s Love Lies Bleeding (LLB), a semi-biographical ballet based on Sir Elton John, set to the music of 14 Sir Elton John and Bernie Taupin songs.  Canada’s Royal Winnipeg Ballet (RWB) is proud to present this provocative and thrilling pop ballet that recounts the triumphs and tribulations of John’s superstardom.  By means of rollerblades, aerial dance, drag queens– and much more, LLB hits the powerful chords of substance abuse and sexual repression that envenomed the pop idol’s life.


This multimedia ballet boasts an almost exclusively Canadian creative team of Martine Bertrand (costume), Adam Larsen (video), Pierre Lavoie (lighting), Guillaume Lord (scenery), and Claude Lemelin (sound), led by LLB choreographer and the artistic director of Alberta Ballet: Jean Grand-Maître.  With $1.2 million invested, LLB is Alberta Ballet’s most extensive production.


Love Lies Bleeding continues to be the most important creation in Alberta Ballet’s history and in my career,” says Jean Grand-Maître.  “This unforgettable partnership with one of rock and roll’s greatest legends will never be forgotten by all those who participated. I have never experienced such outbursts of elation from audiences as I have witnessed each time we perform this spectacular dance production across North America.”


LLB has been performed annually since its 2009 premier, including a sold-out crowd in Calgary’s Jubilee Stadium, Montréal, Ottawa, Vancouver, and Houston after receiving John’s blessing to take the production on tour.


“I am proud of what Alberta Ballet has created,” says Sir Elton John.   “It’s a strong contemporary choreography that entertains and challenges audiences with its aesthetics and its powerful fusion of art mediums.”



What: Canada’s Royal Winnipeg Ballet presents Alberta Ballet’s Love Lies Bleeding

Location: The Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba

Date: March 1-5, 2017

Time: March 1-4 at 7:30pm; March 5 at 2pm

Tickets: Single tickets are available online, in person through the RWB Customer Service Office at 380 Graham Avenue or by calling 204-956-2792 or toll free 1-800-667-4792. Groups of ten or more should contact the RWB Customer Service Office for more information on group discounts.


About Canada’s Royal Winnipeg Ballet 

Founded in 1939, Canada’s Royal Winnipeg Ballet holds the double distinction of being Canada’s premier ballet company and one of the oldest ballet companies in North America. Versatility, technical excellence and a captivating style are the trademarks of Canada’s Royal Winnipeg Ballet, qualities that have garnered both critical and audience acclaim. RWB’s superlative standards keep the Company in demand around the globe as it presents more than 150 performances every season across Canada and in the United States, South America, Europe, the Middle East, Russia, Japan, Asia and Mexico. Under the artistic direction of André Lewis for 21 years, the Company is said to have never looked more resplendent, more assured, and more ravishing.


About Alberta Ballet

Alberta Ballet is one of Canada’s largest ballet companies and is celebrating its 50th anniversary throughout the 2016-17 season. Under Artistic Director Jean Grand-Maître, Alberta Ballet has crafted a unique repertoire of contemporary ballets that both delights classical ballet enthusiasts and attracts new audiences. One of the only arts organizations in Canada to call two cities home, Alberta Ballet is proud to be a community leader both on and off the stage.

Sue Wyatt appointed new Director of English National Ballet School

Sue Wyatt appointed new Director of English National Ballet School

English National Ballet School is pleased to announce the appointment of Sue Wyatt as its new Director, commencing on 1 April 2017.

Sue is currently the Chair of One Dance UK. Until 2015 Sue was also Trustee and Vice-Chair of the Council for Dance Education and Training, is former Chief Executive of Rambert Dance Company, and past Manager of The Cholmondeleys & Featherstonehaughs, Sue Wyatt has over thirty years’ experience in the arts. She was Head of Combined Arts and Strategy at East Midlands Arts Board, a Council Member for Arts Council London, Chair of artsdepot Barnet, and a Trustee for both Phoenix Dance Theatre and Hampstead Theatre.

Sue Wyatt said of her appointment, “I am delighted to have been invited to lead English National Ballet School. I am looking forward to working alongside English National Ballet as the two organisations co-locate in their new state-of-the-art ‘homes’ in London’s City Island.  Bringing School and Company together within the same building will hugely enhance the educational experience of the students and also be an opportunity to reaffirm the School’s position as one of the world’s finest ballet’s schools.”

Steve Sacks, Chairman of English National Ballet School said; “On behalf of the Board I am delighted to welcome Sue as our new Director. She brings with her a wealth of knowledge and experience within the Dance and Education sector and will be a tremendous addition to the School. In 2018, we will begin an exciting new chapter in the School’s history as we move to our exciting new facility in London’s City Island and I am confident that, under Sue’s leadership, this will be hugely successful.  I would also like to extend my tremendous thanks to Delia Barker for her superb job leading the School over the past seven years.”

Sue will oversee the School’s move to London’s City Island in 2018 in partnership with English National Ballet. Together they will create a hub for talent development and artistic excellence, providing our students with an inspiring environment in which to hone their technical skills and develop their artistry.  She will also provide strategic operational leadership for English National Ballet School, in order to achieve our objective of being the school of choice for the new generation of aspiring dancers.

Current Director Delia Barker leaves after seven years to take up a new position at The Roundhouse.

English National Ballet School, official school of English National Ballet


  • We are the official School of English National Ballet with one third of the Company’s dancers having graduated from the School
  • We offer a 3 year diploma in Professional dance accredited by Trinity College, London
  • Our current body of 72 comprises of students from 12 countries including Mexico, Australia, New Zealand, Czech Republic, US, Italy, Spain, France, Japan
  • We are the peer of major ballet schools in France, the United States, Denmark and the UK and many of our graduated students are now working in major ballet companies worldwide
  • We audition over 300 young dancers each year from all over the world and award places purely on talent
  • We are the only Dance specialist DaDA (Dance and Drama Award) school to consistently achieve Outstanding from OFSTED since inspections began in 2002 and we maintain a strong employment record
  • Open to all without audition ENBS Juniors offer high quality, weekly ballet classes to children aged 3 – 10 years

Birmingham Royal Ballet | Cinderella Dreams

Birmingham Royal Ballet | Cinderella Dreams

New production brings together talent from across the generations  

Birmingham Royal Ballet has searched across the Midlands to find the perfect fit for Cinderella’s jewelled slipper, in a production that brings to life the big ballet aspirations of young and old alike. Cinderella Dreams, which premieres on 20 February, is the culmination of a six month quest to inspire and develop dancers from across the region. The production adapts David Bintley’s classic choreography and Sergei Prokofiev’s lush score to create a new and vibrant version of Cinderella, showcasing emerging talent from ages eight to 76 working alongside dancers from Birmingham Royal Ballet. Over 150 hopefuls from the age of eight took part in open auditions in September 2016 under the watchful eye of former BRB dancers Rachel Hester and Jenny Murphy. A final cast of 65 was selected, securing the chance to experience the intensive training, rehearsal and eventually performance of a classical ballet, in front of a full audience, at the home venue of BRB, Birmingham Hippodrome.

The role of Cinderella will be danced by 12 year old Pamela Hawkins, who began dancing at the age of 4 with the Sharon Green Dance Academy in Bodicote, Oxfordshire.  “Ever since I was a little girl, I have always loved the story of Cinderella.  So being asked to dance this role in my first ever full length ballet is truly amazing,” says Pamela, “right now Cinderella Dreams is the highlight of my week.  I can’t wait for Thursdays when I travel up to Birmingham with my mum or dad to the rehearsals.  It’s the most exciting thing I’ve ever been part of. “

Bringing about Cinders magical transformation is Ilona Johnson–Gibbs who, at 76, fulfils a lifelong ambition to become a ballet dancer as the Fairy Godmother. Ilona commented, “I really believe that dance is the ultimate leveller. It knocks down walls to achievement and sweeps away barriers. I feel thrilled I can do this over 70 years after I fell in love with ballet.”

Having returned to the art form three years ago after a fall at work she rediscovered the health and fitness benefits of pulling on ballet shoes again after an absence of 60 years.  In a life filled with many years as a model for titles such as Vogue, a further career as a fine art dealer and motherhood, Ilona will make her grand ballet debut 72 years after first falling in love with dancing.   The project has been developed with the Department for Learning at Birmingham Royal Ballet under the watchful eye of Project Manager, Rebecca Brookes.

Cinderella Dreams has been an inspirational project for all involved,” states Rebecca, “we have been fortunate enough to work with such a wealth of talent from across the Midlands and whilst it has been challenging, it’s also extremely rewarding to see the benefits that it brings to the lives of all involved.”

Cinderella Dreams is the perfect production for all those who aspire to dance on the big stage. A beautiful, charming and magnificent showcase for the wealth of dance talent in the Midlands.

The performance will take place at Birmingham Hippodrome on 20 February 2017 at 19.00.

The performance of Cinderella Dreams is supported by Birmingham Hippodrome.

All tickets are priced at £20 and available via the Birmingham Royal Ballet website.

American Repertory Ballet/Princeton Ballet School Announce New Studio and Administrative Space in New Brunswick

American Repertory Ballet/Princeton Ballet School Announce New Studio and Administrative Space in New Brunswick


American Repertory Ballet/Princeton Ballet School is pleased to announce that it plans to be a resident member of a new, state-of-the-art performing arts complex in downtown New Brunswick. The building, which will be known as the New Brunswick Cultural Center, is slated to open in the fall of 2019. ARB operations included in the new facility will be administrative offices, rehearsal space for the performing company, and two studio spaces for its acclaimed DANCE POWER program and an expanded New Brunswick presence of the Ballet School. (The Ballet School will maintain its Princeton and Cranbury studio operations.)

Interim offices and studios will relocate to 80 Albany Street (the organization’s prior headquarters) while the two-and-a-half-year project is completed.

“American Repertory Ballet has long been committed to the New Brunswick community,” said Charles Metcalf, Chair, Board of Trustees. “With the exciting fruition of the long awaited arts center, we will finally have a true home as New Brunswick’s resident ballet company. The new facility will also permit us to expand the New Brunswick presence of Princeton Ballet School, and better serve our acclaimed DANCE POWER program as it enters its 32nd year in New Brunswick.”

The project is being led by the City of New Brunswick, the New Brunswick Development Corporation (DEVCO), Middlesex County and several additional agencies and organizations. Collectively, they will fund the construction of the new multi-purpose building where the Crossroads Building and George Street Playhouse currently reside. Demolition of those buildings is scheduled for May 2016.

Details of the complex itself include two stages: one an intimate-sized space and the other larger, capable of seating 475 people. This bigger space is complete with an orchestra pit and a larger, expanded back stage that will allow for a wide range of productions. Additional amenities include an in-lobby bar, elevators to the balcony level and much more.

By early March 2017, American Repertory Ballet/Princeton Ballet School will have relocated to its former address at 80 Albany Street in downtown New Brunswick while the new facility is constructed; it is just a few short blocks from its current space at 7 Livingston Ave. In order to facilitate a quick move, the administrative offices will be closed March 2 and 3. They will reopen for business on March 6. All Princeton Ballet School and DANCE POWER classes during this period will be held at 7 Livingston Ave. through Sunday, March 12. Classes will be held at 80 Albany Street beginning Monday, March 13; all teachers and class times remain the same.

Given the estimated completion date, American Repertory Ballet is planning to open its 2019-2020 season in the new space. “American Repertory Ballet’s mission to bring the best of classical and contemporary dance to audiences throughout New Jersey take a giant leap forward with our partnership with the New Brunswick Performing Arts Center,” said Douglas Martin, ARB’s Artistic Director​. “Together with George Street Playhouse, Rutgers University and the Middlesex County Cultural Commission, this performing arts center promises to redefine New Brunswick as center for arts and culture in New Jersey. It has been our dream to have a permanent home in New Brunswick for more than 30 years and ARB is both thrilled and honored that this day has finally arrived.”

The two dance studios will allow Princeton Ballet School and DANCE POWER operations to expand not only in New Brunswick but into surrounding communities. “I am very excited about building our presence in New Brunswick with the new performing arts center,” said Pamela Levy, Princeton Ballet School Director. “By having a permanent home in New Brunswick we will be able to nurture our DANCE POWER program as well as our school, and provide world-class dance instruction for many students throughout Middlesex County.”

The arts development project is being hailed as transformative, not only for American Repertory Ballet/Princeton Ballet School, but the entire New Brunswick community. “We could not be more excited about this project,” said Metcalf. “Together, with our partners, patrons and performers, American Repertory Ballet/Princeton Ballet School will continue to be the leading ballet organization in New Jersey and use this move and expansion as a catalyst for continued growth.”

Colorado Ballet announces 2017-2018 season

Colorado Ballet announces 2017-2018 season

Colorado Ballet Artistic Director Gil Boggs announced the 2017-2018 season, which will feature technically-challenging classical ballets, innovative contemporary works and the 57th annual production of The Nutcracker.


Back by popular demand, Colorado Ballet will open the season with the crowd-favorite Dracula, October 6-15, 2017 at the Ellie Caulkins Opera House Dracula features choreography by Michael Pink and music by Philip Feeney, performed live by the Colorado Ballet Orchestra.  Based on Bram Stoker’s Gothic horror, Dracula features seductive vampires, frightening mental patients and the king of the undead himself, Count Dracula.


“The question I get asked the most is, ‘When are you going to bring back Dracula?’” said Colorado Ballet Artistic Director Gil Boggs.  “This spellbinding ballet continues to be one of our most popular productions because it features a beloved story told using exhilarating live music, grand sets, lavish costumes plenty of horrific excitement.  These elements coupled with Pink’s enthralling and sensual choreography makes audiences feel like they are part of the action.  I encourage you to stock up on garlic and join us for this spine-tingling ballet!”


The season continues with the holiday classic The Nutcracker, November 25 through December 24, 2017 at the Ellie Caulkins Opera House. The 57th annual production features timeless choreography paired with Tchaikovsky’s extraordinary arrangement performed live by the Colorado Ballet Orchestra.  In addition to being the largest production of The Nutcracker in the state, Colorado Ballet’s 2016 production was named the best-loved Nutcracker in the U.S. in the 10th Annual Goldstar National Nutcracker Award contest.


“Even after 56 seasons, Colorado Ballet’s The Nutcracker continues to delight sold-out audiences year after year,” said Boggs.  “We have known for a long time how special our production is, but being named the best-loved Nutcracker in the U.S. right before the 2016 run ended proved what an amazing and enchanting holiday classic we have right here in Denver.  Our performances sell out quickly, so I encourage patrons to buy their tickets early for this timeless story filled with tradition, humor and holiday magic.”


In the spring, Colorado Ballet will present the Shakespearean love story Romeo and Juliet, February 16-25, 2018 at the Ellie Caulkins Opera House.  The romantic ballet features choreography by Derek Deane and music by Sergei Prokofiev, performed by the Colorado Ballet Orchestra.  Prokofiev’s music serves as a melodic substitute for Shakespeare’s poetry and Deane’s staging of the ballet focuses on the characters’ relationships.


“You cannot get any better than Romeo and Juliet because it combines extraordinary dancing, a phenomenal musical score and one of the most powerful love stories of all time,” said Boggs.  “This ballet demands exceptional levels of ballet technique, artistry and acting from the dancers.  From the energetic crowd scenes to the famous balcony scene that transitions into a gorgeous pas de deux between the star-crossed lovers, Romeo and Juliet will take your breath away.”


Colorado Ballet will close out its season with a collection of ballets in Ballet Director’s Choice, March 30-April 1, 2018 at the June Swaner Gates Concert Hall at the Newman Center for the Performing Arts.  Ballet Director’s Choice includes Pillar of Fire by choreographer Antony Tudor and music by Arnold Schoenberg, Brief Fling by choreographer Twyla Tharp with music by Michel Colombier and Percy Grainger, and a third work to be announced.


“This is the way to close out the season, with three amazing and challenging ballets that highlight what our dancers can do,” said Boggs.  “Performing works by Tudor and Tharp in one program will prove that our dancers are up to the challenge of dancing works by some of the best choreographers in the world.  While this repertory will appeal to die-hard ballet fans, it will also appeal to people who are not as familiar with ballet because all of the works are unique and showcase different styles of music, costumes, storytelling and dance.”


Colorado Ballet received a grant from the National Endowment for the Arts (NEA) to perform Pillar of Fire.  Colorado Ballet will be second U.S. ballet Company to perform this ballet, only American Ballet Theatre has performed it previously.


Season subscriptions are on sale now and single tickets will be on sale July 15.  Visit the website for more information.


In addition to the season performances, Colorado Ballet will also perform at the Vail Dance Festival in the summer of 2017.


About Colorado Ballet

Established in 1961 by Lillian Covillo and Freidann Parker, Colorado Ballet is a non-profit organization celebrating 57 years of presenting world-class classical ballet and superior dance in Denver.  Under the direction of Artistic Director Gil Boggs, Colorado Ballet presents more than 50 performances annually. Colorado Ballet enhances the cultural life of Colorado through performances of the professional company, training at the Academy, and Education & Community Engagement programs.






Boston Ballet Artistic Director Mikko Nissinen announces the programming for the 2017–2018 season at the Boston Opera House, to begin in November. The 54th season will open with the North American premiere of Wayne McGregor’s Obsidian Tear, a co-production with The Royal Ballet. Mikko Nissinen’s The Nutcracker returns to enchant audiences with dazzling dancing and a cast of beloved characters. The 2018 spring season will offer a range of rotating classical and contemporary programming from March through June. Parts In Suite, a mixed-repertory program, will feature works by three 21st-century choreographers: Justin Peck, William Forsythe, and Jorma Elo. John Cranko’s Romeo & Juliet returns with a tragic tale of young love set to music by Sergei Prokofiev. The season will also highlight two historic and influential choreographers, George Balanchine and August Bournonville, with two programs dedicated to showcasing their work: Classic Balanchine and La Sylphide. Due to high demand during the 2016–2017 season, The Sleeping Beauty will return for a limited, one-week run in May 2018.

“Boston Ballet’s 2017–2018 season is a collection of some of the world’s finest choreographers, from ballet’s past to present,” said Artistic Director Mikko Nissinen. “We have Petipa, Bournonville, Balanchine, Cranko, Forsythe, McGregor, Peck, and Elo. I am incredibly proud to have such strong, versatile dancers that we can not only honor the history of this art form with classics, but also show audiences where it’s going next, and I think they will be amazed and inspired by the creativity, ingenuity, and originality of these choreographers.”

The 2017–2018 season opens November 3–12 with Obsidian Tear, featuring premieres by The Royal Ballet Resident Choreographer Wayne McGregor and Boston Ballet Resident Choreographer Jorma Elo, and an orchestral performance of Jean Sibelius’ tone poem Finlandia. McGregor’s Obsidian Tear, is a North American premiere presented in co-production with The Royal Ballet.  The all-male ensemble work is set to Finnish composer and conductor Esa-Pekka Salonen’s Lachen verlernt for solo violin and his symphonic poem Nyx, a reference to the Greek goddess of night. Elo’s World Premiere is set to Sibelius’ majestic 5th Symphony. The program recognizes Nissinen and Elo’s Finnish heritage with musical accompaniment by two powerhouse Finnish composers, Salonen and Sibelius, and aligns with the 100th anniversary celebration of the country’s independence on December 6, 2017.

After another record-breaking run in 2016, Mikko Nissinen’s The Nutcracker returns to the Opera House November 24–December 31. This annual production has become a tradition for Boston audiences. More than 200 Boston Ballet School students will join the cast of Company dancers amongst three casts.

The 2018 spring season begins March 9–April 7 with Parts In Suite, featuring three celebrated 21st- century choreographers: William Forsythe, Justin Peck, and Jorma Elo. Forsythe’s Pas/Parts 2016 adds another Forsythe ballet to the Company’s repertoire and marks the second year of Boston Ballet’s partnership with the world-renowned choreographer. An ensemble of 15 dancers perform to the electronic score by frequent Forsythe collaborator Thom Willems in Pas/Parts. A soloist with New York City Ballet as well as the company’s resident choreographer, Peck has already worked with companies across the U.S. and abroad during his meteoric career. In Creases is a Company premiere and the first of Peck’s work performed by Boston Ballet. Elo’s Bach Cello Suites returns to conclude the program, with a cello soloist performing Johann Sebastian Bach’s Cello Suites Nos. 1 & 2 on stage. This work is a true Boston Ballet collaboration with set design by Nissinen, costume design by Manager of Costumes and Wardrobe Charles Heightchew, and lighting design by Lighting Director John Cuff.

John Cranko’s Romeo & Juliet takes the stage March 15–April 8, this time with sets and costumes by internationally-acclaimed German stage designer Jürgen Rose. Breathtaking, intimate pas de deux between the two star-crossed lovers, and lavish ballroom scenes, showcase the artistry of the Company. The story’s well-known narrative, advanced through compelling drama and virtuosic dancing, make this a perfect ballet for both new and experienced audiences.

Due to popular demand during the 2016–2017 season, The Sleeping Beauty returns for one week, May 11–19, with music by Peter Ilych Tchaikovsky and choreography by Marius Petipa and Sir Frederick Ashton.

The spring season continues May 17–June 9 with Classic Balanchine, a triple bill of works by the prolific choreographer George Balanchine. Chaconne is a stately and dreamlike celebration of pure dance set to music from Christoph Willibald Gluck’s opera Orfeo ed Euridice. Prodigal Son, Balanchine’s last work for Sergei Diaghilev’s Ballets Russes—and one of his first to achieve international success—explores themes of sin and redemption from the biblical “Parable of the Prodigal Son.” The iconic lead role has been performed by numerous ballet legends since its 1929 premiere, including Serge Lifar, Jerome Robbins, Mikhail Baryshnikov, and Damian Woetzel. The program concludes with Stravinsky Violin Concerto, an intricately designed work for 20 dancers that Balanchine choreographed for the 1972 Stravinsky Festival honoring the life and work of his long-time friend and collaborator Igor Stravinsky. One of 16 ballets Balanchine choreographed to the composer’s scores, Stravinsky Violin Concerto demonstrates the relationship between the two artists.

The season concludes May 24–June 10 with La Sylphide, featuring works by Danish ballet master August Bournonville. Director of the Royal Danish Ballet for nearly 50 years, Bournonville established the Danish style of buoyant, bravura dancing and expressive pantomime. Of the great ballet master, Balanchine once remarked, “you know what made Bournonville great? He entertained with steps.” La Sylphide, a production by Bournonville expert and former Royal Danish Ballet principal dancer Sorella Englund (after Bournonville’s original choreography), is the heartbreaking tale of a young Scotsman who abandons his friends, family, and betrothed for the unattainable love of a woodland sprite. The final program of the season closes with Bournonville Divertissements, a sampling of the choreographer’s most enduring works, including Napoli, Flower Festival in Genzano, and Abdallah, set to music by Holger Simon Paulli and Edvard Helsted.

Tickets for The Nutcracker will go on sale to the public July 10. Tickets for the remainder 2017–2018 season will go on sale to the public September 5. Current subscribers may renew starting mid-February, and new subscribers can order early to guarantee the best seats at the best price starting March 9.

All performances take place at the Boston Opera House (539 Washington Street, Boston, MA 02111):


Obsidian Tear | November 3–12, 2017

Obsidian Tear

Choreography by Wayne McGregor

Music by Esa-Pekka Salonen

Co-production with The Royal Ballet

North American Premiere

Obsidian Tear is made possible by the Boston Ballet Commissioners Circle: the Stephanie L. Brown Foundation, Andrea and Frederick Hoff, and Ruth and John Littlechild. 

Orchestral performance of Jean Sibelius’ Finlandia


World Premiere

Choreography by Jorma Elo

Music by Jean Sibelius


The Nutcracker | November 24–December 31, 2017

Choreography by Mikko Nissinen

Music by Peter Ilych Tchaikovsky


Parts In Suite | March 9–April 7, 2018

Pas/Parts 2016

Choreography by William Forsythe

Music by Thom Willems

            Boston Ballet Premiere


In Creases

Choreography by Justin Peck

Music by Philip Glass

Boston Ballet Premiere

Two pianists


Bach Cello Suites

Choreography by Jorma Elo

Music by J.S. Bach

Solo cellist


Romeo & Juliet | March 15–April 8, 2018

Choreography by John Cranko

Music by Sergei Prokofiev


The Sleeping Beauty | May 11–19, 2018

Choreography by Marius Petipa, with additional choreography by Sir Frederick Ashton

Music by Peter Ilych Tchaikovsky


Classic Balanchine | May 17–June 9, 2018


Choreography by George Balanchine

Music by Christoph Willibald Gluck (from the opera Orfeo ed Euridice)


Prodigal Son

Choreography by George Balanchine

Music by Sergei Prokofiev


Stravinsky Violin Concerto

Choreography by George Balanchine

Music by Igor Stravinsky


La Sylphide | May 24–June 10

La Sylphide

Choreography by Sorella Englund, after August Bournonville

Music by Herman Løvenskjold


Bournonville Divertissements

Excerpts from Napoli, Flower Festival in Genzano, Abdallah

Choreography by August Bournonville

Music by Holger Simon Paulli, Edvard Helsted



About Boston Ballet

Since 1963, Boston Ballet’s internationally acclaimed performances of classical, neo-classical, and contemporary ballets, combined with a dedication to world class dance education and community initiative programs, have made the institution a leader in its field, with a 53-year history of promoting excellence and access to dance.


Under the leadership of Artistic Director Mikko Nissinen and Executive Director Meredith Max Hodges, the Company maintains a diverse repertoire, ranging from full-length ballets to new works by some of today’s finest choreographers. Boston Ballet’s second company, Boston Ballet II, is comprised of dancers who gain experience by performing with the Company and independently, presenting special programs to audiences throughout the Northeast. 


Boston Ballet School, the official school of Boston Ballet, has a long-standing dedication to providing exceptional dance education and ballet training to students across three studios in Boston, Newton, and the North Shore. Led by Director Margaret Tracey, the School reaches more than 5,000 students (toddler to adult) each year through its four core programs: Children’s Program, Classical Ballet Program, Adult Dance Program, and Pre-Professional Program.


Boston Ballet’s Department of Education and Community Initiatives (ECI) provides programming, events, and activities that connect the community to dance. ECI reaches more than 4,000 individuals in Boston, North Shore, and the surrounding communities each year through Citydance, ECI on Location, Adaptive Dance, and other community programs

Prix de Lausanne | Prize winners of the 45th edition

Prix de Lausanne | Prize winners of the 45th edition


A large audience attended the Prix de Lausanne finals both at Théâtre de Beaulieu and online. Eight young dancers were awarded a scholarship allowing them to enter one of the 68 partner schools and companies of the competition. Non-awarded candidates can take part in the Networking Forum tomorrow and have the opportunity to be chosen by the directors of our partner institutions.

The Prix de Lausanne has once again attracted young and promising dancers from all over the world. 67 out of the 74 selected candidates, finally participated in the 45th edition. Yesterday, 20 candidates were chosen at the selections to compete in the finals.

8 finalists were awarded a scholarship that provides them with the unique opportunity to choose among the 68 prestigious partner schools and companies of the Prix de Lausanne.

During the week, jury members have observed the candidates performing their classical and contemporary variations. This year, the Director of the Royal Ballet, Kevin O’Hare, is the president of the nine jury member panel. As internationally-renowned dance professionals, they selected the 8 most promising talents.

The 8 Prix de Lausanne 2017 prize winners are:

410 – Michele Esposito – 17 years old – Italy

  1. La Bayadère
  2. Nijinsky

306 – Marina Fernandes da Costa Duarte – 17 years old – Brazil

  1. Don Quixote
  2. Préludes CV

415 – Taisuke Nakao – 17 years old – Japan

  1. Swan Lake
  2. Vaslaw

201 – Koyo Yamamoto – 15 years old – Japan


  1. La Fille mal gardée
  2. Yondering

102 – Lauren Hunter – 15 years old – United-States

  1. Le Corsaire
  2. Bach Suite II

423 – Stanislaw Wegrzyn – 18 years old – Poland

  1. Giselle
  2. Vaslaw

120 – Diana Georgia Ionescu – 16 years old – Romania

  1. Paquita
  2. Nocturnes

406 – Sunu Lim – 17 years old – South Korea

  1. Giselle
  2. Wrong Note Rag

Contemporary Dance Prize

410 – Michele Esposito – 17 years old – Italy

For his interpretation of : Nijinsky.

Audience Favourite
306 – Marina Fernandes da Costa Duarte – 17 years old – Brazil

  1. Don Quixote
  2. Préludes CV

The Rudolf Nureyev Foundation Artistic Award


205 – Denilson Almeida – 16 years old – Brazil

  1. Coppelia
  2. Vaslaw

Best Swiss Candidate Prize


410 – Michele Esposito – 17 years old – Italy

  1. La Bayadère
  2. Nijinsky

Finalists who have not been awarded any prize receive the sum of CHF 1’000.-

For the non-awarded candidates, the Prix de Lausanne organises an audition called the Networking Forum. This gives the dancers the opportunity to still have the chance of being selected by representatives of our partner schools and companies. Therefore, the Networking Forum makes the competition worthwhile for all participants. This audition will take place on Sunday, February 5th.

During the interlude, the audience enjoyed an original creation of John Neumeier called “John’s dream” performed by the National Youth Ballet of Germany. They also saw the “Grand Pas de deux” choreographed by Christian Spuck and performed by Lauren Cuthbertson, Principal Dancer of The Royal Ballet, and Alexander Jones, Soloist of the Ballett Zürich. Prix de Lausanne partners with both these companies.

During the week of the competition our daily live-streamed sessions have been watched more than 500’000 times by viewers online (on ARTE Concert, our website and Facebook). Shelly Power: “Thanks to the live streaming, the Prix de Lausanne is proud to share this unique experience worldwide“.



Today The Royal Ballet School launches a unique and exciting online project that traces the story of the founding of a national ballet in Britain. 

The Ballet History Timeline is a new, interactive online tool that relates to the wider history of classical ballet as a theatre art form.  

Set out as an easy-to-explore linear chronology, the Timeline is illustrated by archival treasures from The Royal Ballet School Special Collections, allowing these wonderful items to be seen online for the first time, and appreciated within their proper historical context. 

The Timeline is an on-going project: it currently sets the scene in the 1860s and continues through to 1956, the year in which Dame Ninette de Valois’ School and Companies were awarded a Royal Charter. In due course, the timeline will extend further – back in time, and forward to the present – so that more of the fascinating material held in The Royal Ballet School Special Collections can be explored online.  

The Timeline works on both desktop and mobile devices but, due to the extent of the materials, is best discovered on a desktop computer. 

The Timeline currently features nearly 750 images of items held in The Royal Ballet School Special Collections. It comprises nearly 67,000 words, including detailed image captions, written by The Royal Ballet School’s Manager of Special Collections, Anna Meadmore. 

This Ballet History Timeline is not only a fantastic interactive reference, it also an inspiring, free educational resource for students of dance studies. Any direct quotes from authors have been referenced in the text and all sources can be found by clicking the Bibliography tab. 

A click on each main image in the Timeline will open it; many items have further ‘Read more’, ‘Biography’ or ‘Gallery’ tabs to investigate. An ‘Information’ tab gives credits and copyright information.  

The Timeline was created by The Royal Ballet School to mark the 90th year since it was founded by Dame Ninette de Valois in 1926.  

Our Ballet History Timeline builds on content originally developed for the Julia Farron Ballet Resource Centre, an information database formerly located in White Lodge Museum (2009-15). 

The Royal Ballet School is extremely grateful that this vital work was made possible by generous donations from: Julia Farron, the Foyle Foundation, the Idlewild Trust and an anonymous donor. 

Visit our Ballet History Timeline now to find out more




The Royal Ballet School is one of the world’s greatest centres of classical ballet training which for generations has produced dancers and choreographers of international renown – from Margot Fonteyn, Antoinette Sibley, Anthony Dowell, Anya Linden, Darcey Bussell and Kenneth MacMillan, to a new generation currently making its mark on the world stage – Lauren Cuthbertson, Steven McRae, Edward Watson and Christopher Wheeldon to name but a few. 

Admission to the School is based purely on talent and potential, regardless of academic ability or personal circumstances, and 90% of current students rely on financial support to attend the School. 

Our mission is to train and educate outstanding classical ballet dancers for The Royal Ballet, Birmingham Royal Ballet and other top international dance companies, and in doing so to set the standards in dance training, nationally and internationally. 

Our Outreach & Access Programme aims to broaden access to The Royal Ballet School’s unique resources for primary and secondary school pupils, teachers and the general public. The Royal Ballet School’s younger students are based at White Lodge, Richmond Park. We therefore have a particular interest in, and commitment to, developing relationships with London schools.

BBC star Anita Rani joins Northern Ballet Board

Anita Rani with Northern Ballet dancer Natalia Kerner and Kiara Flavin at Northern Ballet's Leeds HQ. Photo Justin Slee

BBC star Anita Rani joins Northern Ballet Board

Anita Rani with Northern Ballet dancer Natalia Kerner and Kiara Flavin at Northern Ballet's Leeds HQ. Photo Justin Slee
Anita Rani with Northern Ballet dancer Natalia Kerner and Kiara Flavin at Northern Ballet’s Leeds HQ. Photo Justin Slee

BBC and Strictly Come Dancing star Anita Rani has accepted an invitation to join Northern Ballet’s Board of Directors. The Bradford-born TV and radio presenter joins the Board as Northern Ballet prepares for one of the biggest years in the Company’s history which includes the upcoming World Premières of an unprecedented three new full-length ballets; Casanova, The Boy in the Striped Pyjamas and The Little Mermaid

Anita Rani is best known for her work with the BBC as a presenter and journalist. Last year she co-presented a three part BBC Two series New York: America’s Busiest City and is a co-host of Countryfile as well as making regular appearances on The One Show. Last summer she also co-presented ITV’s This Morning with chef James Martin. Anita, who was born and raised in Bradford and attended university in Northern Ballet’s home town of Leeds, developed her passion for dance in 2015 after participating in Strictly Come Dancing where she made it to the semi-finals. This year she is the new host for the Strictly Come Dancing Live tour. 

On her appointment to Northern Ballet’s Board, Anita said: ‘I am thrilled to be joining the Board of Northern Ballet. It’s an honour to be asked to support this amazing arts organisation, especially as a Yorkshire lass. I’ve always loved dance from afar and after Strictly, dance has become a passion I want to have in my life forever. I look forward to encouraging more people to come and watch this incredible company perform. So excited about the future.’ 

In addition to Anita Rani, Northern Ballet has also announced three further new appointments to its Board of Directors; Paul Smith, Head of Media at global entertainment marketing and advertising agency AKA UK, Harry Keogh, Managing Director, Head of London Coverage at Coutts and James Taylor, currently Chief Financial Officer at Anya Hindmarch. 

Sir David Wootton, Chairman of the Board, said: ‘We are always looking to refresh our Board with the diverse skills, experiences, backgrounds, new ideas and thinking that Northern Ballet needs as it moves forward. We have exciting plans and innovations across all our wide-ranging activities and I am delighted that our Board is being further strengthened by the appointments announced today.’ 

Northern Ballet’s Chief Executive, Mark Skipper DL, said: ‘I am very much looking forward to working with all of our new Board members. Collectively they have a huge range of talents and expertise to bring to Northern Ballet which will help us achieve even greater heights in the future.’


Northern Ballet

Northern Ballet is one of the UK’s leading ballet companies and the widest touring ballet company in the UK. Bold and innovative in its approach, Northern Ballet is prolific at creating new full-length work with a unique blend of strong classical technique and world-class storytelling. Northern Ballet’s repertoire embraces popular culture and takes inspiration from literature, legend, opera and the classics, pushing the boundaries of what stories can be told through dance.


A champion for the cultural exports of the North, Leeds-based Northern Ballet is dedicated to bringing world-class story ballets to as many people and places as possible, under the leadership of Artistic Director David Nixon OBE. Northern Ballet’s Company of 45 dancers performs a combination of its full-length ballets and specially created ballets for children at almost 50 venues annually. Providing the highest standard of live theatre experience, every Northern Ballet performance is accompanied by live music played by Northern Ballet Sinfonia.

Seduction, passion, obsession – RNZB’s first season of 2017

Carmen portrait - dancer Mayu Tanigaito credit Ross Brown

Seduction, passion, obsession – RNZB’s first season of 2017

Carmen portrait - dancer Mayu Tanigaito credit Ross Brown
Carmen portrait – dancer Mayu Tanigaito credit Ross Brown

The Royal New Zealand Ballet’s 2017 season begins with two New Zealand premieres of French master choreographer Roland Petit’s landmark works L’Arlésienne and Carmen, which open in Christchurch on 16 February ahead of touring to Christchurch, Invercargill, Dunedin, Blenheim, Rotorua, Palmerston North, Wellington, closing in Auckland on 1 April.

This is the first time that the RNZB has performed works by Roland Petit (1924 – 2011), one of the great choreographers of the 20th and 21stcenturies. Renowned for his uniquely theatrical vision of ballet, he created works for many of the world’s finest dancers including Margot Fonteyn, Rudolf Nureyev, Mikhail Baryshnikov, Zizi Jeanmaire (who become his wife), Alessandra Ferri and Natalia Makarova to name a few. His collaborators included artists such as Picasso, writers Jean Cocteau and Orson Welles, designer Yves Saint Laurent, and musician Serge Gainsborough. He also spent four years in Hollywood, as choreographer on films that included Daddy Long Legs with Fred Astaire and Leslie Caron (1954), and Anything Goes (1955) with Zizi Jeanmaire and Bing Crosby. His ballets continue to be performed by the world’s leading ballet companies.

RNZB Artistic Director Francesco Ventriglia was a 19 year old dancer with La Scala in Italy when he first met Roland Petit.   “Maestro Petit had an extraordinary impact on me as an artist. He not only cast me in my first major roles but he also became my mentor. I feel very honoured to be introducing his genius to the dancers of the RNZB and to nurture them as artists through this experience.  I really believe that Maestro Petit’s works should be seen by everyone who loves the arts, and I am thrilled New Zealanders now have the opportunity to see these masterpieces,” says Francesco.

Carmen has become Roland Petit’s signature work and is in the repertoire of ballet companies throughout the world. It was created for Les Ballets de Paris, and premiered in London in 1949 with Zizi Jeanmaire in the title role, and Petit himself as Don José. Petit created L’Arlésienne in 1974 for the Ballet National de Marseille, a company he founded. Both ballets are set to the well-known and powerful music of composer Georges Bizet and are stories of passion and obsession.

Artistic Director of the Roland Petit repertoire, Luigi Bonino who danced for many years in Petit’s ballets and who went on to be his assistant, has travelled to New Zealand especially to teach the RNZB dancers these two masterpieces with the assistance of Gillian Whittingham.

Francesco Ventriglia has invited two guest artists to join the company for the season.  Natalya Kusch, originally from the Ukraine and a former dancer with The Australian Ballet will be one of the dancers in the lead role of Carmen, and dancer Daniel Gaudiello who also joined the RNZB for 2016’s acclaimed Giselle returns to New Zealand to be one of the dancers in the lead role of Don José.

For the first time in many years the RNZB will open a tour in Christchurch at the Isaac Theatre Royal, on Thursday 16 February.

Carmen synopsis

Don José meets Carmen as she fights with another woman at the cigarette factory. Despite initially being sent to arrest her, he is attracted to her and invites her to meet him at a tavern later that evening. At the tavern, Carmen dances for Don José. When he has eyes only for her, her bandit friends rob him. Carmen and Don José leave and spend the night together. Driven by passion and a desire to prove himself to Carmen, Don José kills a man. Nonetheless, she abandons him for the glamorous Toreador, leaving Don José broken and despairing. Don José cannot bear to see Carmen with another man. As the Toreador fights in the arena, the lovers meet one last time, and Don José stabs Carmen to death.

L’Arlésienne synopsis

It is high summer in Provence. As his wedding approaches, Frédéri is captivated, and then obsessed, by an unknown, unseen woman – the faithless ‘girl from Arles’. We never see her onstage, in fact, she may be a figment of his imagination. Despite Vivette’s efforts to help him, as their wedding day approaches, Frédéri loses his reason, and ultimately, his life. 

Two ballets by Roland Petit, Carmen, with L’Arlésienne

16 February – 1 April

Choreography by Roland Petit. Music by Georges Bizet. Staging Luigi Bonino, with Gillian Whittingham. Lighting by Jean-Michel Désiré. Set design (L’Arlésienne) by René Allio. Costume design (L’Arlésienne) by Christine Laurent

Set and costume design (Carmen) by Antoni Clavé.

Christchurch Isaac Theatre Royal: Thu 16 Feb 7.30pm, Fri 17 Feb 7.30pm (free Pre-performance Talk 6.30pm), Sat 18 Feb 7.30pm (Warm Up, Curtain Up 6.20pm)

Invercargill Civic Theatre: Wed 22 Feb 7.30pm (Warm Up, Curtain Up 6.20pm)

Dunedin Regent Theatre: Sat 25 Feb 7.30pm (Warm Up, Curtain Up 6.20pm), Sun 26 Feb 4pm

Blenheim ASB Theatre Marlborough: Fri 3 Mar 7.30pm, Sat 4 Mar 7.30pm (Warm Up, Curtain Up 6.20pm)

Rotorua Civic Theatre: Thu 9 Mar 7.30pm, Fri 10 Mar, 7.30pm (Warm Up, Curtain Up 6.20pm)

Palmerston North Regent on Broadway: Fri 17 Mar 7.30pm, Sat 18 Mar 7.30pm (Warm Up, Curtain Up 6.20pm)

Wellington St James Theatre:  Wed 22 – Thu 23 Mar 7.30pm, Fri 24 Mar 7.30pm (free Pre-performance Talk 6.30pm), Sat 25 Mar 1.30pm (free Q&A post show) & 7.30pm (Warm Up, Curtain Up 6.20pm)

Auckland ASB Theatre, Aotea Centre: Wed 29 – Thu 30 Mar 7.30pm, Fri 31 Mar 7.30pm (free Pre-performance Talk 6.30pm, Sat 1 Apr 1.30pm (free Q&A post show) & 7.30pm (Warm Up, Curtain Up 6.20pm).

Running time approximately 1 hour and 45 minutes including one interval.

The Royal New Zealand Ballet

The Royal New Zealand Ballet (RNZB) was founded in 1953 by Danish dancer Poul Gnatt, as a touring professional ballet company for all New Zealanders. Now based at Wellington’s St James Theatre, the Royal New Zealand Ballet is an intrinsic part of New Zealand’s national heritage, and has the largest following of all New Zealand performing arts companies. The Royal New Zealand Ballet continues to invest in live music, performing with the Auckland Philharmonia Orchestra, New Zealand Symphony Orchestra, Orchestra Wellington, the Christchurch Symphony Orchestra and the Dunedin Symphony Orchestra.  The RNZB enjoys a reputation for strong and unique interpretations of full-length dramatic works. To this base the RNZB have been added many masterworks and major ballets of the 20th century, such as Balanchine’s works and the Stravinsky ballets. The company has an enviable track record in commissioning new works from New Zealand and international choreographers. The RNZB regularly represents New Zealand on the international stage, with recent tours to the UK, Australia, China, USA and Italy and Hong Kong.

Pantone Unveils Color of the Year 2017:

pantone colour of the year 2017 greenery

Pantone Unveils Color of the Year 2017:

PANTONE 15-0343 Greenery

pantone colour of the year 2017 greenery

A refreshing and revitalizing shade, Greenery is symbolic of new beginnings

Pantone, an X-Rite company and the global authority on color and provider of professional color standards for the design industries, today announced PANTONE 15-0343 Greenery as the PANTONE® Color of the Year selection for 2017; a fresh and zesty yellow-green shade that evokes the first days of spring when nature’s greens revive, restore and renew. Illustrative of flourishing foliage and the lushness of the great outdoors, the fortifying attributes of Greenery signals individuals to take a deep breath, oxygenate and reinvigorate.

“While Serenity and Rose Quartz, the PANTONE Color of the Year 2016, expressed the need for harmony in a chaotic world,” said Leatrice Eiseman, Executive Director of the Pantone Color Institute “Greenery bursts forth in 2017 to provide us with the hope we collectively yearn for amid a complex social and political landscape. Satisfying our growing desire to rejuvenate, revitalize and unite, Greenery symbolizes the reconnection we seek with nature, one another and a larger purpose.”

The more submerged people are in their own modern realities, the greater their innate craving to immerse themselves in the physical beauty and inherent unity of the natural world. This shift is reflected by the proliferation of all things expressive of Greenery in daily lives through urban planning, architecture, lifestyle and design choices globally. A constant on the periphery, Greenery is now being pulled to the forefront – it is an omnipresent hue around the world.

PANTONE 15-0343 Greenery, a life-affirming shade, is also emblematic of the pursuit of personal passions and vitality.

“The tangy yellow-green speaks to our desire to express, explore, experiment and reinvent, imparting a sense of buoyancy,” said Eiseman. “Through its reassuring yet assertive vibrancy, Greenery offers us self-assurance and boldness to live life on our own terms, during a time when we are redefining what makes us successful and happy.”

In this spirit of reconnection, exploration and belonging, Pantone has partnered with Airbnb – a community marketplace that provides access to unique accommodations and experiences around the globe – to bring Greenery to life through an experience in early 2017. The collaboration, a first of its kind, was inspired by Pantone’s vision for Greenery and Airbnb’s community that connects travelers to magical experiences.

A Color of Innovation:
While often associated with environmentalism and nature, Greenery is also a unifying thread in tech and innovation because of its association with boldness, vigor and modernity. Many new apps, animation iconography and digital-first startups express this energy by using the riveting and attention-getting shade of green in their logos. Conveying progression and a pioneering spirit, Greenery portrays an entrepreneurial essence that aligns with the industries that have embraced it.

Greenery for Fashion:
Greenery is nature’s neutral. A great harmonizer merging undertones of cool blues with vibrant yellows, the hue is a natural complement to a wide range of palettes. Like the spectrum of possibilities in colorful petals and blooms paired with lush green leaves, plants and trees, Greenery provides a pop of color in accessories and footwear, or as acts as a bold accent in a pattern. Prominent in fashion for men and women, as seen in the recent collections of Kenzo, Michael Kors, Zac Posen, and Cynthia Rowley, Greenery has also been shown in a variety of solids and prints in children’s wear.

Greenery blends fashion and tech as well, as a prominent color for wearables and activewear.

Greenery for Home Décor and Architecture:
Open spaces in interior and exterior design and floor-to-ceiling windows allow the green outdoors to become part of a room’s backdrop and ambiance. Adding Greenery through living walls, terrariums, botanically-themed wallpaper, paint, accent furniture and decor provides respite and breathing space. A Greenery-painted wall or piece of furniture delivers a pop of color, with the added benefit of creating the illusion of nature indoors.

Bringing the outside in, the shade – like the plant life it represents – can improve self-esteem, reduce anxiety and heighten awareness of one’s surroundings.

Greenery for Beauty:
In the ultimate personal display of boldness and vitality, Greenery is deployed as a chic, confident punch of color for hair, lips, eyes and nails. It is also a camouflaging base for natural beauty looks, with green makeup rooted in color-correcting trends. A complementary color to red shades, Greenery plays down ruddiness in the skin.

Greenery for Food and Beverage:
Holistic, harmonious living is linked to the power of plants: Invigorating Greenery is prominent in many health food trends today, including matcha, seaweed and avocado, while the growth of urban agriculture and indoor vertical farms brings the essence of Greenery to unexpected places. On the table, Greenery plates and chargers provide an appetizing backdrop for food – making dishes pop and appear fresh. Greenery is also often used in design for the hospitality and culinary industries to convey organic healthfulness.

Greenery for Graphic Design:
Because of green’s prevalence in nature, it maintains a perception of being inherently good for you and organic. People respond on a visceral level to the hue, making the eye-catching Greenery an ideal shade for many applications of graphic design. This is especially true for packaging, where the sight of Greenery provides an instant message of freshness.

About the PANTONE Color of the Year
The Color of the Year selection process requires thoughtful consideration and trend analysis. To arrive at the selection each year, Pantone’s color experts at the Pantone Color Institute comb the world looking for new color influences. This can include the entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations, as well as new lifestyles, playstyles and socio-economic conditions. Influences may also stem from new technologies, materials, textures and effects that impact color, relevant social media platforms and even up-coming sporting events that capture worldwide attention. For 17 years, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home furnishings and industrial design, as well as product packaging and graphic design.

The color selected as our Pantone Color of the Year 2017 was taken from the PANTONE Fashion, Home + Interiors Color System, the most widely used and recognized color standards system for fashion, textile, home and interior design.

About Pantone and the Pantone Color Institute

Pantone LLC, a wholly owned subsidiary of X-Rite, Incorporated, is the global color authority and provider of professional color standards for the design industries. Pantone products have encouraged colorful exploration and expressions of creativity from inspiration to implementation for more than 50 years. Through the Pantone Color Institute, Pantone continues to chart future color direction and study how color influences human thought processes, emotions and physical reactions. Pantone furthers its commitment to providing professionals with a greater understanding of color and to help them utilize color more effectively. Always a source for color inspiration, Pantone also offers designer-inspired products and services for consumers.

About X-Rite

X-Rite, Incorporated, is the global leader in color science and technology. The company, which now includes color industry leader Pantone, develops, manufactures, markets and supports innovative color solutions through measurement systems, software, color standards and services. X-Rite’s expertise in inspiring, selecting, measuring, formulating, communicating and matching color helps users get color right the first time and every time, which translates to better quality and reduced costs. X-Rite serves a range of industries, including printing, packaging, photography, graphic design, video, automotive, paints, plastics, textiles, dental and medical.



Edward Villella, who danced with New York City Ballet from 1957 to 1981, and Mimi Paul, whose performing career with both NYCB and American Ballet Theatre extended from 1960 to 1973, will teach and coach Bugaku for the cameras of the George Balanchine Foundation.  Recording will take place on February 20, 2017, at the NYCB studios in the Rose Building, Lincoln Center, New York.  The two coaches will work with Maria Kowroski and Jared Angle, principals with NYCB.  Nancy McDill, solo pianist with the NYCB orchestra, will accompany the session, and writer Joel Lobenthal will interview the coaches.  The recording will be supervised by Nancy Reynolds, the foundation’s Director of Research, assisted by Paul Boos, Virginia Brooks, and Gus Reed.


The GBF Video Archives document the insights of dancers, often principals from original casts, who worked closely with Balanchine.  The Archives’ mission is to preserve this knowledge and pass it on to today’s dancers, scholars, and audiences.  The Archives are available world-wide through public and university libraries.  In addition, the interview components are available on the Balanchine Foundation’s YouTube channel.


The exotic and mysterious Bugaku is one of Balanchine’s most unusual creations.  As the Japanese-born composer of the score, Toshiro Mayuzumi, observed, “I cannot say that my music is really Japanese-flavored, but I am a Buddhist and very interested in Zen philosophy, so I hope that some kind of Japanese spirit reflects in my work.”  In similar manner, Balanchine, influenced by Japan’s Gagaku Musicians and Dancers, with their history dating back more than 1000 years, did not attempt a direct imitation of an ancient all-male court dance [bugaku] but transposed Western classical ballet into a style suggested by the music.  The ballet depicts what has been referred to as a “nuptial rite.”  The principal couple, accompanied by their entourages, sets the scene, leading to an elaborate pas de deux representing a preordained sexual encounter.


Balanchine stressed the contrasting movement personalities of male and female.  Arthur Mitchell, the lead male in the original alternate cast, recalls that “[he] was always at me to be down, down, down, like a wrestler.  He spoke of the woman’s movements as a blossom unfolding.”


Villella, the original male lead, wrote (in his autobiography, Prodigal Son), “The use of the floor . .. is totally different from all other ballets.  It’s more a strut than a walk.  The [all-male] Gagaku dancers weren’t delicate.  They had weight.   I thought of samurai warriors. . . .


Allegra Kent, on whom Balanchine created the female role, wrote (in her autobiography, Once a Dancer . . . ) , “I wanted to portray something of the look, beauty, and mystery of Japanese women.  My objective was some intangible quality that would evoke the haunting aura of this ancient culture. . . . I always do it with a face that shows no emotion, with what I feel is a Japanese look. . . . I participate but my eyes and face are averted from the reality of what’s happening.”


Mimi Paul, the female lead in the original alternate cast, observed, “I will never forget the experience of all of us collaborating with Mr. B. on Bugaku.  What stays with me was his respect for the Japanese culture, as shown through his elegant demonstrations of the movements in rehearsal.”

EDWARD  VILLELLA has long been considered one of the finest male ballet dancers of the 20th century.  In addition to his virtuoso technique and dynamic stage presence, he projected a new image of the male principal, dancing not only the hero, the prince, or the cavalier, which had defined a leading male dancer up to that time, but also the rambunctious youth, the athlete, the contemporary street-smart city kid.  George Balanchine created many notable roles on him, including those in “Rubies” from Jewels, Oberon in A Midsummer Night’s Dream, Tarantella,  Bugaku, and Harlequinade.  Jerome Robbins created a leading role for him in Dances at a Gathering  (the youth who touches the earth) and the Zen-influenced Watermill.  (Robbins also cites the very young student Villella as influential in the genesis of Afternoon of a Faun. )  However, despite the Balanchine and Robbins roles tailor-made to display Villella’s unique qualities and a wide range of other roles in the NYCB repertory (Symphony in C, Western Symphony, Tschaikovsky Pas de Deux, “Thunder and Gladiator” from Stars and Stripes, Afternoon of a Faun), the role for which he is best known is that of the Prodigal Son.  He has been active in educational programs in which he has always stressed the masculine nature of the male role and the intricacies involved in partnering the ballerina.


Retiring from performing in 1981, in 1986 Villella founded the Miami City Ballet, where he remained as artistic director until 2012.  In addition to performing regularly at several venues in Florida, the company appeared at Kennedy Center, New York’s City Center, and for a three-week sold-out season at the Theatre du Chatelet in Paris in 2011.



MIMI PAUL trained at the school of the Washington Ballet.  While still a student, she had ballets created especially for her by renowned company director Mary Day and by Heino Heiden.  In 1960, she was invited to join NYCB, where her qualities of lyricism, elegance, and mystery were immediately recognized.  At NYCB, she danced leading roles in, among others,  Balanchine’s Apollo, Episodes, Symphony in C (second movement), Four Temperaments, Bugaku, La Valse, Liebeslieder Walzer, Serenade, The Nutcracker, Divertimento No. 15, and A Midsummer Night’s Dream.  In addition, she danced Jerome Robbins’s Afternoon of a Faun, in the company premiere of Antony Tudor’s Dim Lustre, and in Frederick Ashton’s Illuminations.  Balanchine created roles for her in Don Quixote, Emeralds, and Valse-Fantaisie.  In 1969 she joined American Ballet Theatre, where she danced the leads in Giselle and the full-length Swan Lake, in Paquita, Les Sylphides, Tudor’s Lilac Garden, Massine’s Gaite Parisienne,  and in the company premiere of Eliot Feld’s Intermezzo.


In 1973 she retired from performing and taught for a decade at the North Carolina School of the Arts, Winston-Salem.  In later years she staged Divertimento No. 15 for the Maggiodanza in Florence and has coached at Pacific Northwest Ballet, San Francisco Ballet, Kirov Academy in Washington, D.C., Indiana University, and Washington Ballet.  For the George Balanchine Foundation, she taped coaching sessions of her roles in Emeralds and Valse-Fantaisie.  “I like to encourage dancers to use their imagination,” she says, “to ask them, ‘What are you saying with all that technique?’  A great pleasure in working so closely with Balanchine was that his trust freed us.  You had room to breathe.  I like to encourage dancers to courageously expose who they are.”


MARIA KOWROSKI became an apprentice with NYCB in 1994, joining the corps de ballet in 1995.  In 1997 she was promoted to soloist and in 1999 to principal dancer.  She has performed numerous leading roles in the core Balanchine repertory as well as leads in ballets by Jerome Robbins, Peter Martins, Alexei Ratmansky, William Forsythe, Christopher Wheeldon and Mauro Bigonzetti.


JARED ANGLE became an apprentice with NYCB in March 1998 and joined the NYCB corps de ballet later the same year.  He was promoted to soloist in 2001 and to principal in 2005.  During his tenure with the company he has performed many featured roles in ballets by Balanchine, Jerome Robbins, and Peter Martins.


JOEL LOBENTHAL is Associate Editor of Ballet Review.  His most recent book is  Wilde Times: Patricia Wilde, George Balanchine, and the Rise of the New York City Ballet.  He is working on biographies of Yuri Soloviev and Diana Sands.


NANCY REYNOLDS, a former dancer with NYCB, has been Director of Research for The George Balanchine Foundation since 1994.  She conceived and continues to direct the Video Archives program.


PAUL BOOS is a former NYCB dancer and current repetiteur for the George Balanchine Trust.  In 2015 he became the George Balanchine Foundation’s Video Archives Project Associate.


VIRGINIA BROOKS, Professor Emerita of Film at Brooklyn College/CUNY and director of several documentaries, has been an editor for the GBF’s Video Archives since 1994.


GUS REED, a New York City-based filmmaker, specializes in capturing and editing dance.  His recent projects include videos for NYCB’s “Project Ballet” initiative, the Jerome Robbins Foundation, Emery LeCrone Dance and the Liz Gerring Dance Co.  He has been associated with the GBF since 2014 and is an editor for the GBF’s Video Archives


The Washington Ballet | Amuse Bouche to Raise Critical Funds for Dance Education

The Washington Ballet | Amuse Bouche to Raise Critical Funds for Dance Education

The Women’s Committee of The Washington Ballet (TWB) presents Amuse Bouche: A Taste of France, Dance, Romance and Chance, a fundraiser for The Washington Ballet’s education and community engagement programs. Guests will enjoy a Champagne reception followed by a three course, French-inspired meal prepared by French Embassy Chef Daniel Labonne. Each course will be paired with two French wines selected by renowned local wine expert, Doug House, owner of Chain Bridge Cellars. The evening also features performances by The Washington Ballet including a selection from Giselle along with Resonance, choreographed by Company member Tamás Krisza. The evening also features a live auction with exclusive travel experiences and wine tasting opportunities.


WHERE: The French Embassy, 4101 Reservoir Road NW, Washington, DC


WHEN: Friday, February 10 at 7PM


Ticket Price: $250.


Proceeds for Amuse Bouche will support The Washington Ballet’s education and community engagement programs. These programs have served more than 100,000 children and thousands of adults since their inception in 1999.


Live auction items include:

  • Two travel tickets to Paris, France provided by Air France plus two night stay at Waldorf Astoria’s Trianon Palace Versailles and two night stay at Hilton Paris Opera. The Waldorf Astoria’s Trianon Palace Versailles is a 5 star luxury resort featuring a spa, indoor pool, Michelin-starred restaurant and access to the Palace of Versailles’ park and grounds. The Hilton Paris Opera is a beautifully restored landmark hotel located in the heart of the city.
  • One night stay at Keswick Hall & Golf Club in Keswick, Virginia and dinner for two at the Club’s fine dining restaurant, Fossett’s or its causal/historic wing, Villa Crawford. Stay also includes a private tour, luncheon & wine tasting for two at Thomas Jefferson’s Monticello.
  • Dinner with TWB Artistic Director Julie Kent
  • Pair of tickets to Food & Wine Classic in Aspen
  • Four (4) tickets to The Washington Ballet’s Giselle, backstage tour plus a walk-on role for one to be part of the production.
  • Four course dinner for four at Peacock Cafe. Dinner includes wine pairings by Claude Thibaut, owner of Thibaut-Janisson Winery in Virginia.
  • RSVP Catering for 25 people
  • More!

Amuse Bouche Honorary Chairs: Gérard Araud, Ambassador of France; Julie Kent, TWB Artistic Director; Victor Barbee, TWB Associate Artistic Director. Amuse Bouche Co-Chairs: Annie Boutin-King, Sarah Foster, Jacqueline Henry, Natalie von Seelen.


Amuse Bouche sponsors include Air France, Caudile, Chain Bridge Cellars, Stuart and Sarah Foster, Food & Wine, Drs. Fizzah and Tim Gocke, Alex and Jacqueline Henry, Hilton, Sir William and Lady Yasuko Jeffcock, Thomas Jefferson’s Monticello, John and Diane Keppler, KxPhotography, Dr. Rafik and Marsha Muawwad, Peacock Café, Lola C. Reinsch, RSVP Catering, Kirk and Natalie von Seelen, Women’s Committee of The Washington Ballet.

To learn more about Amuse Bouche and to purchase tickets visit the website.


For questions and further assistance, contact Alexandra Neal, Manager of Individual Giving.

ABOUT DOUG HOUSE: Doug House is the owner of Chain Bridge Cellars, a highly curated neighborhood wine shop in McLean, Virginia, specializing in small producer, hand crafted wines from around the world. In his 10 years in the wine industry, Doug has traveled and tasted with winegrowers in major wine regions of France, Italy, Spain, Oregon and California. He routinely tastes and evaluates more than 1,500 wines per year. With his colleagues, Doug developed the highly interactive One Sip At A Time wine class series designed to help wine lovers at all stages of their vinous journey understand why they do/don’t like different wines and how to describe their tasting experiences and preferences. He also conducts in-depth explorations of wines of Burgundy, the Rhone Valley, Oregon’s Willamette Valley, Italy’s Piedmont region and more.

ABOUT THE WASHINGTON BALLET: The Washington Ballet (TWB) was originally founded as The Washington School of Ballet in 1944 by legendary ballet pioneer Mary Day and incorporated as a professional company in 1976. The Washington Ballet is one of the pre-eminent ballet organizations in the United States. TWB built an international reputation presenting bold works by choreographers from around the world, including Choo San Goh, Christopher Wheeldon, Mark Morris, Twyla Tharp, Hans van Manen and Jiří Kylián, as well as neoclassical masterworks and fresh staging of 19th century classics. Under the leadership of Interim Executive Director Shakira Segundo and Artistic Director Julie Kent, TWB continues to serve its three-part mission: ensuring excellence in its professional performance company; growing the next generation of dancers through its Washington School of Ballet; and serving the community in which it resides through robust community engagement programs.

Northern Ballet brings history’s greatest lover to the stage with the World Première of Casanova


Northern Ballet brings history’s greatest lover to the stage with the World Première of Casanova


World Première – Leeds Grand Theatre, 11 – 18 March 2017

Also touring to – Edinburgh, Sheffield, Norwich, Milton Keynes, Cardiff, Salford and London

In just 6 weeks’ time Northern Ballet is bringing history’s most notorious lover to life with its sensual new ballet Casanova. The internationally acclaimed company will transport audiences to 18th century Venice, telling the story of the infamous Italian adventurer in a seductive masquerade of passion and politics. The World Première for Casanova will be held at Leeds Grand Theatre from 11 – 18 March 2017 before touring to Edinburgh, Sheffield, Norwich, Milton Keynes, Cardiff, Salford and London until May 2017.


In Northern Ballet’s Casanova the fiercely intellectual Giacomo Casanova leads a controversial life consumed by his desires. He dabbles in careers as a scam artist, violinist, alchemist and church cleric but with a penchant for gambling and women, his exploits lead him into a whirlwind of scandal and excess resulting in imprisonment and exile. A true story so sensational you won’t believe it’s real.


Casanova will be choreographed by award-winning Kenneth Tindall who was most recently nominated for Best Classical Choreography and the Emerging Artist Award at the 2015 National Dance Awards. In addition to creations for Northern Ballet and other international organisations including John Neumeier’s Bundesjugendballett and English National Ballet’s Emerging Artist Competition, he recently collaborated with celebrated artist Linder Sterling and the British Art Show on Children of the Mantic Stain.


With a stellar creative team, Kenneth Tindall will co-create the scenario with actor, dramatist and historical biographer Ian Kelly, author of the 2008 Sunday Times Biography of the Year Casanova. The production will be set to an original score by modern classical, film and television composer Kerry Muzzey, played live by Northern Ballet Sinfonia. Sets and costumes will be designed by Tony and Olivier award winning Christopher Oram, whose recent credits include Hughie for the Booth Theatre, New York and The Winter’s Tale for the Kenneth Branagh Theatre Company at the Garrick Theatre. Lighting will be designed by Alastair West whose Northern Ballet credits include Giselle, I Got Rhythm, Jane Eyre and Kenneth Tindall’s Luminous Juncžture and The Architect.


World-Renowned Paul Taylor Dance Company Brings Sell Out Performances of Breathtaking and Iconic Dances to Sarasota

World-Renowned Paul Taylor Dance Company Brings Sell Out Performances of Breathtaking and Iconic Dances to Sarasota

The Sarasota Ballet announces today that it has added, for the first time with a presented Company, an additional Monday Evening Performance to its sellout weekend with Paul Taylor Dance Company. Presented at the FSU Center for the Performing Arts, Friday 24 February to Monday 27 February, the Paul Taylor Dance Company will perform three works from the company’s iconic repertoire—Bradenburgs, Lines of Loss and Black Tuesday. Paul Taylor is considered by many to be America’s greatest living choreographer – a founder and towering icon of modern dance, an indigenous American art form. Over 60 years, Mr. Taylor has created 146 dances including such masterworks as Aureole, Esplanade, Company B, Promethean Fire and Beloved Renegade. At 86, he continues to craft new works and his ideas influence art of the 21st Century.

“Never before has a company that The Sarasota Ballet presented generated the level of interest and ticket sales that the Paul Taylor Dance Company has this season,” explains Joseph Volpe, Executive Director of The Sarasota Ballet. This performance by the Paul Taylor Dance Company marks its first and only tour to the State of Florida this Season and the second time it has partnered with The Sarasota Ballet during the last 5 years. “Paul Taylor is the last living member of the pantheon that created America’s art of modern dance, and to present his company here in Sarasota offers an amazing opportunity for our community to witness a true American dance institution,” says Iain Webb, Director of The Sarasota Ballet. “To have modern dance of this caliber in Sarasota is important for our audience to see how vast and exceptional the art of dance truly is.”

 Major funding provided by The SHS Foundation. Leadership support provided by Marjorie S. Isaac and the Doris Duke Charitable Foundation. Support also provided by the Howard Gilman Foundation. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. National tour support by the National Endowment for the Arts.

In 2014, Paul Taylor launched Paul Taylor American Modern Dance to provide a home for America’s indigenous art of modern dance. In addition to presenting his own works at Lincoln Center and other preeminent venues, Mr. Taylor will present great modern dance works of the past and present, and commission the next generation of choreographers so modern dance can flourish well into the future. As part of his vision, Mr. Taylor is committed to having live music at Lincoln Center whenever it was intended by the choreographer.

The Sarasota Ballet Presents – Paul Taylor Dance Company is sponsored by WEDU/PBS.

Performance Schedule and Ticket Information
The Sarasota Ballet Presents – Paul Taylor Dance Company
Featuring Paul Taylor’s Bradenburgs, Lines of Loss and Black Tuesday at the Florida State University Center for the Performing Arts.
Friday, 24 February 2017 at 7:30 PM – SOLD OUT
Saturday, 25 February 2017 at 2:00 PM – SOLD OUT
Saturday, 25 February 2017 at 7:30 PM – SOLD OUT
Sunday, 26 February 2017 at 2:00 PM – LIMITED SEATING
Sunday, 26 February 2017 at 7:30 PM – LIMITED SEATING
Monday, 27 February 2017 at 7:30 PM – ADDED PERFORMANCE

Single Tickets
Individual tickets for The Sarasota Ballet’s 2016-2017 Season, starting at $30, are on sale now online or by calling 941.359.0099.

About The Sarasota Ballet
Since 1990, the mission of The Sarasota Ballet has been enriching lives, captivating emotions and strengthening the community through the art of dance. Under the leadership of Director Iain Webb, the company’s expanded repertoire includes works by world-renowned choreographers such as Sir Frederick Ashton, George Balanchine, Christopher Bruce, Dame Ninette de Valois, Twyla Tharp, Antony Tudor, Sir Kenneth MacMillan, John Cranko, Hans van Manen, André Prokovsky, Dominic Walsh, Christopher Wheeldon and Sir Matthew Bourne. Receiving national and international recognition for its diverse repertoire of rarely performed ballets, The Sarasota Ballet received rave reviews during the Sir Frederick Ashton Festival, which highlighted 14 of the famed choreographer’s ballets and divertissements in 4 days. In the last five years, The Sarasota Ballet was invited to the Kennedy Center in Washington, D.C. twice, performed in the Fall for Dance Festival at the City Center, and presented a week-long program run at the historic Jacob’s Pillow Dance Festival. In August 2016, The Sarasota Ballet made their Joyce Theater premiere in New York City featuring an all-Ashton program.

About Paul Taylor Dance Company
The world-renowned Paul Taylor Dance Company sets the global standard for contemporary dance excellence. Since the company’s founding in 1954, Mr. Taylor has choreographed 146 dances, many of which have attained iconic status and have been celebrated throughout the world. The Company has performed in more than 567 cities and 65 countries. Mr. Taylor continues to create at least two new works a year for his 16-member Company. His autobiography, Private Domain, was published in 1987 and the Company was the subject of the documentary film “Dancemaker,” nominated for an Academy Award in 1999. A book of essays mostly for fun called Facts and Fancies was written by Mr. Taylor in 2013. He has achieved countless accolades, including two of our nation’s highest artistic distinctions: the Kennedy Center Honors and the National Medal of Arts.

Prix de Lausanne 2017 | Opening of the 45th edition of the competition

Prix de Lausanne 2017

Prix de Lausanne 2017 | Opening of the 45th edition of the competition

International competition for young dancers – Théâtre de Beaulieu

The competition starts with 68 young dancers from 17 different countries 

Registration and first warm-up classes were broadcasted live on the Facebook page. Official competition week opens live on ARTE Concert everyday until Thursday. On Friday and Saturday, the entire Selections and Finals will be live-streamed.

Shelly Power, Artistic Director and CEO: “It gives me great pleasure to open the 45th anniversary week of the Prix de Lausanne. 68 students are ready to experience a unique week of access to the professional world of ballet. Each student will have an opportunity to test their skills but more than that to find from within their courage, strength, calm, control and confidence. These are all skills that will change their lives and to experience that change is an honor for me. Leading my first Prix de Lausanne today is also filled with the anticipation of recognizing John Neumeier, for his willingness to share the variations that our candidates will perform and for all the gifts he has imparted on generations of dancers that have come through the Prix. I look forward to my daily inspiration of knowing I am part of a bigger plan that will impact these young dancers lives forever. Our daily live stream might also give others that daily inspiration and we are grateful to share this unique experience with the world.”

English National Ballet tour Mary Skeaping’s Giselle to Belfast

English National Ballet tour Mary Skeaping’s Giselle to Belfast

Grand Opera House, Belfast

Wednesday 21 – Saturday 24 June 2017

Performances at 7.30pm (Thurs mat at 2pm, Sat mat at 2.30pm)

Tickets: £13.50 – £43.25


Following its critically acclaimed run at the London Coliseum in January, English National Ballet tour Mary Skeaping’s Giselle to the Grand Opera House, Belfast from the 21-24 June 2017, making the company’s first ever visit to Northern Ireland.


A haunting story of innocence and betrayal, and a timeless tale about the redemptive power of love, Mary Skeaping’s Giselle features some of ballet’s most dramatic scenes and otherworldly images. Adolphe Adam’s classic score is performed live by English National Ballet Philharmonic.


English National Ballet is presenting two versions of Giselle this season. Mary Skeaping’s classic production of the iconic ballet follows Akram Khan’s contemporary reinterpretation which had its world premiere earlier in the season, and returns to Sadler’s Wells in September 2017.


Tickets for Giselle at the Grand Opera House, Belfast go on sale at 10am Monday 30 January 2017.


About English National Ballet


English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. English National Ballet is an Associate Company of Sadler’s Wells.

American Repertory Ballet to Host Its Annual Gala on March 25, 2017 in New Brunswick

American Repertory Ballet to Host Its Annual Gala on March 25, 2017 in New Brunswick

American Repertory Ballet is pleased to announce that it will host its annual Gala, themed Pride and Prejudice: An Evening of Timeless Elegance, on Saturday, March 25, 2017, at 6:30 p.m. at the Heldrich Hotel in downtown New Brunswick, N.J.


This year, the annual gala honors Thomas F. Kelso, Esq., for his outstanding leadership in the arts community, and Kathleen Moore Tovar, the recipient of the 2016 Audrée Estey Award for Excellence in Dance Education.


American Repertory Ballet’s annual gala celebrates and showcases the three branches of the organization: American Repertory Ballet, New Jersey’s preeminent ballet company; its official school, Princeton Ballet School, one of the largest non-profit dance schools in the country; and ARB’s Access & Enrichment programming.


The reception will include a gourmet dinner, dancing to the music of The Kenny i Orchestra, silent auction and more. Princeton Ballet School students ages 12-18 years can enjoy a Junior Gala with dinner, dancing and a silent auction, also at the Heldrich Hotel.


Thomas F. Kelso, a Phi Beta Kappa graduate of Rutgers University, (B.A. with distinction in History, 1972) and Brooklyn Law School, (J.D., 1975) has continually practiced law in the State of New Jersey in a wide range of areas. He possesses extensive knowledge and experience in civil litigation matters at the state and federal court levels, as well as in the areas of local and county land use, development and urban redevelopment. Mr. Kelso has served as Middlesex County Counsel since 2002. He was a founding partner of Gluck & Kelso, Esqs., and is now the senior partner of Kelso and Bradshaw, Esqs.  He is a founding member and current Chairman of the Board of Trustees of The New Brunswick Cultural Center, Inc. Mr. Kelso previously served as the first Chairman of the Board of the State Theatre Regional Arts Center at New Brunswick, Inc.


Kathleen Moore Tovar is a former principal dancer with American Ballet Theatre and a senior faculty member at Princeton Ballet School. She trained with Dame Sonia Arova and Thor Sutowski at the Alabama School of Fine Arts (ASFA) and attended summer intensives at the School of American Ballet and the American Ballet Theatre (ABT) School. Ms. Moore Tovar graduated from ASFA as a Presidential Scholar in the Arts and moved to New York to join ABT II in 1980. Invited by Mikhail Baryshnikov to become a member of the corps of ABT in 1982, she was appointed soloist in 1988 and Principal dancer in 1991. Her work included roles across the classical, dramatic, modern and contemporary repertory. Agnes de Mille, Twyla Tharp, Mark Morris and other respected choreographers created roles for her and she was a member of the premiere tour of the White Oak Dance Project under the direction of Mikhail Baryshnikov and Mark Morris in 1990.

American Repertory Ballet’s mission is to bring the joy, beauty, artistry and discipline of classical and contemporary dance to New Jersey and beyond through artistic and educational programs, presented by a financially responsible organization.