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2016 volume 4

front row In this issue

BECOMING BUTTERFLY DANCER PROFILE: AROLYN WILLIAMS

FROM BREAKING POINTE TO BALLETOMANE DONOR PROFILE: RICK ROSS

BALLET WEST GOES TO CUBA performing rubies and presto

front row | 1 principal artist arolyn williams | photo by luke isley


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IN THE NEWS BALLET WEST II PRESENTS ITS FIRST SOLO PROGRAM IN SALT LAKE CITY Ballet West II will grace the stage of the Rose Wagner Performing Arts Center for just three performances with an exciting program of contemporary and classical works on October 14-15, 2016. This will be the first time it will have had a dedicated program in Salt Lake City. The second company is comprised of pre-professionals from around the globe, and has been critically lauded for its physicality and diverse repertoire. “Ballet West II has established a reputation of its own as an elite ballet west ii artist kyle davis. photo by touring ensemble,” said CEO and kelli bramble. Artistic Director Adam Sklute. “The dancers are remarkably gifted. Currently, 25 dancers of Ballet West’s main Company have come out of Ballet West II, including four of our Principals and five Soloists. Many others have gone on to dance with some of the most prestigious ballet companies in the world.” At the Rose Wagner, the troupe will perform a mixed bill of rarely seen classics and bold new works that will highlight the dancers impressive and diverse talents. The evening includes: early 19th Century Danish master August Bournonville’s Napoli Variations and Tarantella; Ballet West II Associate Director Peggy Dolkas presents Are we there yet?; Tomm Ruud's contemporary Mobile; Minkus Pas de Trois, and a spellbinding re-staging after Marius Petipa’s ballet Paquita. Closing the show is Ballet West Resident Choreographer Nicolo Fonte’s Piece of my Heart, a high-energy creation set to the music of Janis Joplin.

table of contents 4 arolyn williams

dancer profile

6

Rick Ross

donor profile

8 ballet west

goes to cuba ballet unites countries

10

be a part of nutcracker history The Campaign Launches

12

laura o'neill Staff Profile

14 new and renewed donors Welcome to our Newest Supporters 16 upcoming events Our Quarterly Calendar

season sponsors

staff Josh Jones Writer & Editor

Rob Salvation Design

Sara M. K. Neal Associate Director of Marketing

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arolyn williams collected and cool In Ballet West’s Season opener, Arolyn Williams will be cast as Cio-Cio San in Madame Butterfly, a role which, in 2009, earned her accolades and defined this musical and graceful dancer.

crack! When Principal Arolyn Williams stepped on stage in the role of Princess Aurora in The Sleeping Beauty on February 13, 2014, no one in the audience heard her foot break within the first few steps of her headlining role. Not only had Arolyn heard it, even worse, she felt it. Being a professional, she danced through the pain. Principal Ballet Mistress Pamela Robinson, who was in the audience, instantly identified something was wrong. Before going to the stage, she ran downstairs to find Principal Artist Katherine Lawrence, and to get her into costume to relieve Arolyn in between the Rose Adagio and a short break before a solo. Unfortunately for Arolyn, when she came off stage, there just hadn’t been enough time to slide Katherine into costume yet. So, she went back out and performed the variation. With all spotlights on Arolyn, and 1,559 audience members watching, her first thought was, “Oh my God. Am I really doing this?” Looking back, she says, “It was pure endorphins that got me through. I have never experienced that kind of pain before.” Arolyn heroically went on to finish all of Act I.

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The incident demonstrates Arolyn’s quiet strength and humble professionalism, which she is known for. “Arolyn is a consummate artist,” said CEO and Artistic Director Adam Sklute. “No matter the style of dance, no matter how big or small the role, Arolyn dives into it with 100% commitment, making it her own while staying completely true to every detail and challenge.” Adam adds, “Offstage,

Arolyn can come across as shy, quiet, and at times almost self-effacing. But, anyone who has seen her perform knows the magical and powerful stage creature she becomes, fearless and with a seemingly endless supply of technique and artistry which is often not apparent at first glance during the class and rehearsal process.” Arolyn’s work ethic was instilled at a very young age. “I think my parents thought I would be interested in horses, but I really don’t remember a time that I didn’t want to dance.” For Arolyn, her eyes were opened when the Washington Ballet performed Hansel and Gretel at her school. “I had an epiphany when my teacher told me that this was their job. I thought, you can get paid to dance? I don’t think I’ve ever seriously entertained another career since that moment.” In sixth grade, the family moved to Rowe, Massachusetts and her parents would drive her an hour both ways to take her to ballet classes at Pioneer Valley Ballet. The school brought in top talent from across the country, including Rose and Charles Flachs, who had been Soloist and Principal Dancers at Ballet West. “Arolyn was a happy, spirited student in class,” Rose told the Front Row. “She listened carefully and always accepted a challenge. She was an unusual student in that she had an ‘artistic soul.’ Movement meant something to her. This is a rare quality to find in a young teenager. I knew she had a bright future in dance. I am so happy she is dancing with Ballet West.” Arolyn says that by her Junior year in high school she knew in her gut that she needed to advance to the next level of training to continue to grow. On


a whim, she and her mother decided to drive to North Carolina and audition for the North Carolina School of the Arts. She was accepted, and quickly realized that it was the right move. “Public high school is about fitting in. NCSA is for artists. I could be myself, and because of that, my dancing blossomed.” After two years, Arolyn had received a few job offers from auditions she had attended, but it was Ballet West’s then-Artistic Director, Jonas Kåge, after a spring performance, who had the most enticing offer—a paid contract within the recently conceived Ballet West II. “I was very surprised because I had always heard about how tall the Company dancers are. When I was hired, I think I was the shortest dancer in the building!” It didn’t take long for Arolyn to be comfortable in her new environment. “It was my first time to Utah and I was completely blown away by the mountains.” Arolyn loves hiking and being outdoors, so the natural environment was just as welcoming as her physical environment—renting a room from Ballet West Board Member Jeanne Potucek, who has helped acclimate dozens of dancers to their new home. Arolyn joined the main Company in 2006, and when Adam Sklute arrived in 2007 she began to receive title roles and steady promotions. Adam remembers, “I had only been Artistic Director of Ballet West for about a year and still getting to know the dancers. In our annual evaluation which took place during our regular run of The Nutcracker, Arolyn was still in the corps de ballet but she impressed and moved me almost to tears when she explained that she felt her job was to bring magic and joy

every time to every step the corps did in unison show after show. I knew she was a unique and powerful artist.” In 2009, she was cast as Cio-Cio San in Stanton Welch’s Madame Butterfly, “Steven Woodgate and Stanton Welch were both extremely kind to me, especially as I was so inexperienced. I also couldn’t have been as successful in that role without [nowretired Ballet West Principal Artist] Michael Bearden. He was so patient. We rehearsed the pas de deux on our own over and over again in the studio until it was second nature. It was so great to get the mechanics down like that because by the time we got onstage I could just let the character take over, almost like I was along for the ride and she (Cio-Cio San) was driving it.” Arolyn received national attention from multiple media outlets for her graceful, character-driven dancing in the role. A profile in DANCE Magazine raved she had, “musicality, impeccable footwork, and a blissfully light upper body. Critics and choreographers have noted [her] ability to fly through the most technical of challenges.” Arolyn was promoted to Soloist the following year, and to Principal in 2013. This fall, Arolyn will again embody Cio-Cio San on Opening Night of Madame Butterfly. “It is such a privilege to get to return to a role like Butterfly. The best performances are when it feels like you are going on a journey and you don’t actually know what’s going to happen next. You feel purely in the moment. Hopefully the audience is going along that journey with you, as if you are living it together.” See Arolyn Williams in Madame Butterfly, November 4-13.

Arolyn Williams married Owen Gaj, who danced for the Ballet West from 2008 to 2013. He is now an EMT and furthering his education at the University of Utah. The couple exchanged vows on June 18 in Rowe, Massachusetts, in the same home where her grandmother had her wedding reception. Afterward, the couple honeymooned in Iceland and Italy.

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RICK ROSS | PROFILE

RENAISSANCE MAN A few years ago, Ballet West ventured into the television business with a series entitled Breaking Pointe. In terms of content, it was one of many reality television shows on the air, but for the genre –ballet—it was groundbreaking. It was broadcast into millions of homes spotlighting an art form that was geographically inaccessible for some, and, on the surface, seemingly inconsequential to others. As CEO and Artistic Director Adam Sklute has said many times, “We didn’t do Breaking Pointe for the 20 percent of Americans who love ballet. We did it for the 80 percent who had no idea what ballet could be.” In the early 80’s, that 80 percent included Rick Ross. That is certainly not the case today, as Rick is a generous supporter of Ballet West and an admirer of the art form itself. His appreciation was piqued a few years ago when he was flipping through the channels and stumbled upon Breaking Pointe. Like millions of fans, Rick saw the beauty (and drama) of ballet and it struck a chord within him. “I kind of fell in love immediately. I then did some research and got in touch with the Ballet West Development Department.” Before he even saw Ballet West in person, Rick gave a contribution in honor of his departed wife, Judee. A lifelong dancer, Judee loved ballet, but was also proficient in jazz and tap. In the mideighties she asked Rick to take her to a ballet. “I reluctantly agreed, and I can’t even tell you what it was. I’m embarrassed to say that now. But I was young, ignorant, and immature. I’ve come a long, long way.” It wasn’t until last year’s Romeo and Juliet that he made it to Utah from his home in Scottsdale to see the Company in person. “It was breathtaking. Many people never get to share their talents in such an intimate way. To have dancers share their skills in a meaningful and public forum is astonishing. It’s amazing, and it is very precious to me.” Rick pauses, “I’m older now, and I understand the blood, sweat, and tears that goes into this art form.”

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While his appreciation for ballet is his own, he mentions that his philanthropy is not about him at all. “This is all for Judee. I’m hoping she’s proud

of me, that we are helping this organization. I’m supporting causes that she believed in. I think she would love that.” Rick recently funded the “Imagination Fund” which will allow artistic staff to explore, dream, and be even more creative. This year, the fund will help support Ballet West’s Works From Within program, which will be launched in Park City in March, as well as a threecity tour for Ballet West II in Arizona. Rick has also sponsored Artist Anisa Sinteral. “Rick is a sweetheart,” says Vice President of Development, Sarah West. “His history has shaped a quiet wisdom within him, and his family background has developed an appreciation in him for quality and craft. People come to the ballet for many reasons, I know. For Rick, his connection and love for dance comes from a higher spiritual place.” Recently in town for Beer and Ballet, Rick was able to spend some time with two stars from Breaking Pointe, First Soloist Allison DeBona and Principal Rex Tilton. “Many of the dancers have enjoyed getting to know Rick through social media, and it was wonderful to get to know him better in-person,” said DeBona. “For him, Ballet West is more than an art organization that he supports. He connects with the dancers on a personal level. Supporters like Rick are nice to have when you’re on stage—you can feel their love.”


In 1945, Rick Ross’ grandfather started Junior House, a company that manufacturing clothes for young adults in Milwaukee. The company did well, but found success with what would become an iconic image of Americana: the poodle skirt. “It was actually just a doodle that my mother drew,” said Rick. “The first advertisement featured Elizabeth Taylor.” The poodle skirt became a piece of art history and at the end of last season, Rick used the original pattern to sew copies of the skirt for a few Company dancers. Copies from the original pattern of the poodle skirt were also given to Ballet West’s costume department… perhaps a 50’s themed ballet is not far off?

donor rick ross with principal artists beckanne sisk and emily adams, and soloists jenna rae herrera and katie critchlow. front

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ballet west goes to cuba By Amy Falls

Americans’ interactions with Cuba have been limited for the past fifty years, and some might still primarily associate Cuba with Cohiba Cigars, Cubanos, Mojitos, and Hemingway’s cats. At the same time, Cuba has been internationally extolled for its strong ballet tradition, for the better part of the twentieth century and into the present; Ballet West will have the pleasure of participating in this tradition, representing American ballet at a longstanding Cuban ballet event this fall.

balle t west principal dancer beck anne sisk performing rubies. choreogr aphy © the george bal anchine trust. photo by luke isle y.

In November, six Ballet West Company Dancers will have the unique opportunity to perform at the 25th International Ballet Festival of Havana, Cuba. The festival is hosted biennially by the Ballet Nacional de Cuba at several venues throughout the city, including the mainstage Gran Teatro de Habana Alicia Alonso.

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Principal Artists Christopher Ruud and Beckanne Sisk will dance the pas de deux from Rubies, a movement from George Balanchine's iconic three-Act ballet, Jewels. Notably, Sisk and Ruud will have the honor of being the first to ever perform any part of Rubies in Cuba. “I approach every role I dance the same way,” says Ruud. “It’s either one hundred percent or nothing. But going in to the performance knowing that Cuban audiences are new to Rubies – it’s a pretty huge responsibility. There’s something heightened about this.” Ballet West Principal Artist Katherine Lawrence, First Soloist Adrian Fry, First Soloist Jacqueline Straughan, and Soloist Alexander MacFarlan will perform Resident Choreographer Nicolo Fonte’s Presto, an edgy and electric quartet. Presto is the first ballet of Fonte’s to be performed in Cuba. “It

feels special to be bringing something to Cuba that is “ours”, something that is uniquely Ballet West,” says Lawrence. Presto was created on Ballet West in 2013, and had its World Premiere in Chicago. Three out of the four dancers performing Presto in Cuba, including Lawrence, were in this original cast of the ballet. “I also really enjoy getting to see new places, so going to Cuba is very exciting for me,” continues Lawrence. “And seeing dancers from all over – it’s such a good learning experience. You gain exposure to different types of dance and different dancers all at once. It’s enriching as an artist.” The main festival venue’s namesake, Alicia Alonso, is the linchpin of Cuban ballet. Alonso had an illustrious, though challenging, career – she performed internationally into her seventies (she is now 94), but has been partially blind since the age of 19. Alonso planted the seed for Cuban ballet as it is esteemed around the world today: she founded the Nacional Ballet de Cuba in Havana in 1948 and the Cuban National Ballet School two years later. The International Ballet Festival was created in conjunction with the Ballet Nacional de Cuba in 1960, and dancers and companies from more than fifty countries have graced Havana festival stages since its inception. “Cubans are as passionate about ballet as Americans are about sporting events,” remarks CEO and Artistic Director Adam Sklute. “This will be an opportunity to expose Cubans to American ballet – which has been harder to come by in Cuba until recent developments in the United States’ relationship to Cuba. It is very exciting for Ballet West to be among the few American companies that have had the opportunity to perform at the festival.” The International Ballet Festival is highly regarded amongst international balletomanes, but Ballet West’s presence at the 2016 festival is also


significant in terms of cultural diplomacy. It was announced at the end of 2014 that the United States would restore full diplomatic ties with Cuba for the first time in over fifty years. “This is a truly wonderful and exciting honor for Ballet West,” says Sklute. “While commerce and their economy were challenged during the embargo with the United States, the arts, and in particular, ballet continued to thrive in this vibrant country. Their ballet training and dancers are legendary in the world of dance. Politicians speak of increased trading of commodities between our countries. It is my opinion that the sharing of our art forms will lead to a better understanding of each other’s culture and people, and to a healthier long term relationship.”

“All around, it’s one of those rare opportunities that we relish as dancers,” says Ruud, before jokingly concluding: “But if we do get some time off while we’re there, it’s not bad to go sit on the beach in the Caribbean!” The International Ballet Festival runs from October 28th – November 6th, 2016 in Havana, Cuba. Ballet West will perform in a gala on Sunday, November 6th at the Gran Teatro de Habana Alicia Alonso. The cost of the tour has been generously underwritten by the Quinney and Lawson families who are longtime supporters of Ballet West.

balle t west principal dancer k atherine l awrence

Wilson has already traveled to Havana ahead of the company, on a site visit in July with General Manager Michael Currey and Special Events Manager Laura O’Neill. While there, they were able to meet with the festival director and festival production team to finalize communication over scheduling and technical aspects. Wilson explains, “There are not a lot of people from the U.S. who have gone to perform in Cuba recently, so information was not as readily available for this tour as with others – especially online. Since online research and sometimes email communication were often challenging, it was key for us to go in person to establish the important

Wilson explains why she is excited about the tour to Cuba for Ballet West: “I’ve always seen the arts as a great way to break down barriers in political communication, and I love that Ballet West is traveling to Cuba in the midst of a major change in relations between our two countries.” She hopes that the tour will help position Ballet West as a company that’s forward–thinking with touring, and that it might open up other opportunities for cultural diplomacy for the company in the future.

performing nicolo fonte ’s presto. photo by be au pe arson

In addition to Sklute and the dancers, Ballet West staff members traveling to Cuba include: Stage Manager Amanda Craig, who will assist with all the technical aspects of the tour and with wardrobe; Head Electrician James Larsen, who will act as production manager and assist with lighting; Ballet Mistress Jane Wood, who will oversee company classes and rehearsals alongside Sklute; Physical Therapist and Athletic Trainer Kevin Semans, whose services will be available to the dancers for the duration of the tour; Vice President of Development Sarah West, who will accompany a group of Ballet West donors on the trip; and Director of Business Expansion and Company Management Summer Wilson, who will manage the tour.

groundwork.” Wilson and Currey were also able to see where Ballet West will perform – at the Gran Teatro, which recently underwent a complete renovation and now features all brand-new equipment.

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ballet west invites the community to be part of nutcracker history Earlier this year, Ballet West announced one of the most ambitious and challenging artistic endeavors in the history of the Company—a complete update to the physical production of The Nutcracker. Company leadership had quietly been seeking funds to replace the current sets and costumes, which are more than 25 years old and require extensive refurbishments each season. Hours before the curtain call for Opening Night of the 2015 Nutcracker, the George S. and Dolores Doré Eccles Foundation invited Ballet West CEO and Artistic Director Adam Sklute and then-Executive

Director, Scott Altman to an impromptu meeting and privately announced a $2 million grant to recommission The Nutcracker production. "That meeting was one of the most powerful moments of my career," said Sklute. "The Eccles Family and Foundation told me personally they were doing this because of their trusted faith in my work. I immediately felt the responsibility to honor the past while looking towards the future." Willam Christensen’s creation is not just any Nutcracker—it’s the longest-running Nutcracker in the United States, and it is beloved by tens of thousands who attend year after year. Critics still hail it as the best in the nation, and our toughest connoisseurs, cherubic children, are just as delighted by the mice, soldiers, and cannons, as they were 61 years ago. "Throughout his lifetime Mr. C. changed the sets and costumes of his iconic Nutcracker four times," said Sklute. "These new designs will be the fifth

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costume sketches for the new production by david heuvel. set design sketches by john wayne cook.


physical re-do and I feel it is my duty to stay true to his choreography and vision." The Company is now constructing 24 monolithic new sets, 268 dazzling costumes, dozens of props, and an exciting array of special effects that will keep The Nutcracker viable for another 60 years. All of this must take place in less than 15 months, as the new production will open in December, 2017. Ballet West is inviting the community to “Play a Part in Nutcracker History” by participating in a newly announced campaign. First and foremost, Ballet West wants to encourage its loyal patrons to promote the upcoming production and ensure the community that Mr. C’s choreography will remain unchanged, yet costumes, sets, props, and added theatrics will be re-imagined. Secondly, the community can support Ballet West by making a one-time campaign donation, starting as little as $25, to forever be connected with this new production for the entirety of its projected 25+ year run. Funding from this campaign will be invested in Ballet West’s sustainability initiatives that will catalyst for innovative programs and projects that will further benefit the community.

opportunity to personally invest themselves into the organization,” said Vice President of Development, Sarah West, who is also Willam Christensen’s granddaughter. “I am honored to represent my family, as well as this institution, to ask the millions who have seen this production, who have civic pride, and who enjoy the arts, to give back to something iconic. Like any nonprofit, our programming is expensive, and like anything beautiful, it is worth it.” Play Your Part Today! Some of the available opportunities will include naming rights for specific costumes with the donor’s name sewn into the garment, and having a family’s name displayed on the back of set pieces. No matter what scene or character is your favorite part of The Nutcracker, there are dozens of ways to be a part of Nutcracker history. To stay up-to-date on the progress of the new production, and to learn how you can be personally invested and involved, visit: balletwest.org/nutcrackercampaign, or call Sarah West at 801-869-6919

“We want our community, those who have loved this production for years, to have the

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Laura O’Neill | Staff Profile

the most important event is always the next Deep in the planning stages of a new event, Dance with the Dancers Gala, Laura O’Neill takes a breath and remembers the famous people she’s worked with, and the secrets to a great event. Event planning is unpredictable. There are thousands of details to arrange, and yet one curve ball can derail the most carefully laid plans. When the caterer forgets the cutlery, or flowers are flagging, that is when Laura O’Neill, Ballet West Special Events Manager, comes to the rescue. She thrives on the high-wire act, slashing through problems like a ninja, and coordinating escape routes for the most unimagined quandaries. For two years, Laura has made everything (offstage) beautiful at the ballet. After graduating from the University of Maryland with a journalism degree, Laura was hired full time at BMG distribution, where she had been an intern. “It was kind of a dream job for a kid straight out of college,” she recalls. “I was a field marketing representative and I drove around, peddling new releases and hanging posters in record stores. I was there for five years, and it was wonderful.” After finding her niche, Laura moved to New York City and was hired at an artist management company. The job entailed working closely with such artists as Ricky Martin, John Mellencamp, Heather Headley and Peter Gallagher. “Peter was a great guy I helped coordinate a promotions tour. We took him to the Today Show, Regis and Kelly, and The View,” said Laura said. “The record, 7 Days in Memphis, was good, but after a three-day promotions tour, it just hadn’t sold anything.” That was the mid-aughts and things were not looking

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great for the record industry. “There were massive layoffs going on all around town. Everyone lived in fear of getting fired.” She left the industry just days before the slow-moving steamroller came to the label she was working for. Her event planning experience came about at a famous Baltimore dance club called The Get Down. “It wasn’t like a lot of clubs at the time. People loved it that there we weren’t prentious. They would come and have the time of their lives.” Laura was the General Manager, and planned liquor and record launch parties, and coordinating sold-out dance parties. Her meticulous management of details helped win the venue “Best Nightclub in Baltimore” for three years straight. While she loved the business, as anyone in the nightclub industry will tell you, it was exhausting. Laura once again packed her bags and took a seasonal job for two years at the Sundance Film Festival managing special events. Not only did she learn to love event planning, she also “Fell in love with Utah. I love the atmosphere, the mountains, the pace of life.” So, when Laura found a full time position open at Ballet West, she jumped at the chance to work with the Company. “Salt Lake has this incredible energy right now. It has everything you’d want in a big city, while still being manageable.” Laura has found a home in Salt Lake City. “I’ve moved around a lot, but I feel comfortable here, and I love what I do.” She adds, “This is more than a job. Art can change lives, and I’m proud to be working for such an honorable pursuit.”


Laura’s next event at Ballet West is “Dance with the Dancers Gala,” a ‘spin’ on the traditional gala. Laura’s eyes light-up as she explains the concept, “It will be an evening of elegance and glamour, and the dancers will be there partying alongside the guests. We listened to patrons of past events and found the one thing they’d like more of is access to the dancers. Ballet West’s fans love our dancers.” Laura has taken the feedback and designed Dance with the Dancers so that revelers can interact with them, from a cocktail reception inside the theater, to an elegant dinner in the lobby with dancers at every table. The evening caps off with dessert and dancing on-stage. “The night will be fun and sophisticated. I believe this event will really be tremendous and beautiful.”

Laura is a founding member and third baseman of the Ballet West Ballers, the company’s softball team. This summer, she helped lead the team to a first place championship in their league!

GALA Enjoy an exquisite meal under the crystal chandeliers of the Janet Quinney Lawson Capitol Theatre hosted by Ballet West Company dancers, followed by an unforgettable on-stage dance party complete with dessert, cocktails and a live band.

SATURDAY OCTOBER 29, 2016 • 6:00 TICKETS START AT JUST $200 SPONSORSHIP TABLES AVAILABLE

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801-869-6919 • balletwest.org/dancewiththedancers

Principal dancers Beckanne Sisk and Rex Tilton. Photo by Samantha Little.

Spend an evening with Ballet West Company Dancers, and get swept away in an evening of elegance and glamour as we celebrate the opening of our 53rd Season!


donors founder’s circle Ballet West thanks our Founder Circle donors, each of whom has given more than $500,000 to the Company throughout its history, either though collective annual giving or one-time gifts. B.W. Bastian Foundation Barbara Barrington Jones Beano Solomon Emma Eccles Jones Foundation Frederick Q. Lawson Foundation George S. and Dolores DorÊ Eccles Foundation Janet Q. Lawson Foundation John and Marcia Price Family Foundation Marriner S. Eccles Foundation Peggy Bergmann Rocky Mountain Power S.J. and Jessie E. Quinney Foundation Salt Lake County ZAP The Huntsman Foundation

Each issue of the Front Row will feature a listing of current Heritage Club and Founder's Circle patrons, corporate sponsors, foundation and government supporters, and new members ($350+ level) who have joined since our last publication. For a full listing of our generous donors, please visit BalletWest.org/donor-acknowledgments.

Barbara Barrington Jones Marie and Kevin Brown

Beesley Family Foundation

Marelynn and

James and Barbara Clark

John and Ilauna Gurr

Edward Zipser

Ron and Shelley Hansen

DiFiore Family Sue J. Ellis

Stephanie and Tim Harpst

Alan and Jeanne Hall

Jennifer Horne

Katharine Lamb

Scott Huntsman

Sheryl and Bruce Lefavi

Tina Jensen

Angela Martindale and Michael Snow

Anne and Conrad Jenson

Dan Miller

Cynthia Lampropoulos and George Gourley

John and Andrea Miller Anthony and Jessica Mirabile Richard and Lois Peterson Brian and Janae Powell Keith and Nancy Rattie Janet and Pete Richardson Bryan and Erin Riggsbee Katherine Scott Liz and Jonathan Slager Stanford and Dixie Stoddard Barbara Tanner

Jeanne Kimball

Pamela Parkinson and Joshua Scoby

Agency of Salt Lake City

Carole Wood and Darrell Hensleigh

Anne Marie and Jason Portnoy

heritage club Mr . C Frederick Quinney Lawson John and Kristi Cumming Krista and Jim Sorenson Paul and Cheryl Huntsman Peggy Bergmann Richard A. Ross Family Shari and David Quinney

Bradley Allen Scott and Lisa Altman Margaret Anderson Liuda and Petras Avizonis Kathleen and Andy Blank Doug Brown Carol Browning Alexis Carr Carol Carter and George Nitse William and Patricia Child

Mrs. Wallace

Carol Christ

Theodore Schmidt

Hal and Cecile Christiansen

Judy Brady and Drew Browning Archivist and Director Vilija Avizonis and Greg McComas

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Ray Pickup

Lee Quinney Victor Rickman and Susan Koles Ellen and Chris Rossi Jerry and Linda Rowley Margaret Sargent Teresa Silcox Adam Sklute and Christopher Renstrom Todd Smith Audra Sorensen

Johann Jacobs and David Heuvel

G. Frank and Pam Joklik Lou Ann and Howard Jorgensen

Sharon and Michael Bertelsen

Marilyn and Rulon Neilson

Gordon Irving

Carol Baer

Willis Mccree and John Fromer

Anthony and Jessica Mirabile

David and Linda Irvine

Petras and Liuda Avizonis

Gary Beers

Glen and Rayna Mintz

Robert and Dixie Huefner

Marilyn and Chester Johnson

Gideon and Jennifer Malherbe

Peter and Catherine Meldrum

Tina and Larry Howard

Lucio Assis

Suzanne and Clisto Beaty

Julia S. Watkins

Wells Fargo

Bene Arnold

Frances and Jerome Battle

Shari and David Quinney

Ballet Mistress and Choreographer

Patricia and Steve Anderson

David and Naja Lockwood

Meldrum Foundation

Jeffrey anderson

Helle and Jon Le Rette

Lois and Richard Peterson

Val A. Browning Foundation

John and Marilyn Alleman

Govert Bassett

M. Walker and Sue Wallace

Utah Arts & Museums

Ballet Master

Karen Horne and Michael Rowley

Alene Bentley

Annie Binger Ginny Bostrom and Ralph Ashton Kristel Bowman Carter Amalia Cochran

John Karls Shelley Kendrick J. Allen and Charlene Kimball Carol and Guy Kroesche Katherine Labrum Catherine and Matthew Lake Roxanne and Tony Lazzara David and Helane Leta

William and Joan Coles

Rebecca Marriott Champion and John Champion

William and Melissa Connelly

Rachelle McCarthey and Brock Vandekamp

Charles and Susan Critchlow

Thomas and Mary McCarthey

Peter Dejonge and Susan Johnson

Marjorie and Thomas Mclaughlin

Thomas and Lisa Dunlap

Stephen Moga

John Eckert

Sheri and Ted Morgan

Sissy Eichwald

Leslie Murdock

Inger Fenech

Scott and Joann Narus

Tracy Frech

Oren and Liz Nelson

Karen Freed

Scott Nichols

Nancy Futrell, M.D. and Clark Millikan, M.D.

Joanne Parrish

Charles Gardner and Patti Eylar

Linda and Robert Pembroke Andrea Peterson

George Speciale

Dave Garside and Audrey Miner

Jack and Sue Stahl

Marla Gault

Cindy and Blake Strong

Anamarie and Rick Gold

Jeanne Potucek

Bill Sweet and Stacey Sweet-Tabar

David and Sandylee Griswold

Nancy Rapoport Suzanne and David Razor

Barbara Tanner

Sandy Haughey

Gary and Joann Rieben

Richard and Chris Veit

Wyatt and Samantha Hepworth

N. Leone Rogers

Pascale De Rozario and Jonathan Crossett

Roy and Lisa Vincent

Spencer Eccles

Debra Washburn

Deborah and Edward Felt

Mark Weisbender

John and Joan Firmage

Jackie Wentz

Linda and Brad Walton

Howard and Cindy Hochhauser Connie Holbrook Mark and Wendi Holland Julie Hopkins

Diana and Joel Peterson Jeanie Pollack

Scott Rosenbush and Cindy Zimmerman Margaret P. Sargent Linda and Mark Scholl Robert and Nancy Schumacker


Laura Scott Claudia and David Seiter Ben and Lael Selznick Aharon Shulimson and Julie Terry Teresa Silcox John Sklute

Salt Lake County Zoo, Arts and Parks Program Utah State Legislative Funding through the Utah State Office of Education Professional outreach Program in the Schools

Wells Fargo

Industrial Supply Company

Wheeler Foundation

John and Dora Lang Foundation

$5,000-9,999

Katherine & Ezekiel Dumke Foundation

Bambara Restaurant Discovery Gateway Goldman Sachs

Kb2n Kpcw Merrick Bank

Mary Jo Smith and James Kruse

$25,000-99,999 B.W. Bastian Foundation

Nancy and Robert Sparrer

Henry W. and Leslie M. Eskuche Charitable Trust

Emma Eccles Jones Foundation

Mina Vaughan Foundation

Jennifer Speers

High West Distillery and Saloon*

Janet Q. Lawson Foundation

Jon and Diana Major Spencer

Jones Waldo

Nordstrom

The Huntsman Family Foundation

KUTV

Overstock.com*

Amy Wadsworth and David Richardson

Marriner S. Eccles Foundation

Mountain America Credit Union

Panache Park City

Susan Warshaw

National Endowment for the Arts

Myriad Genetics

Cynthia Washington William Weldon

Nuvestack*

O.C. Tanner

Snow, Christensen & Martineau

Partnering for Performance

Southern Wine/Spirits West*

Promontory Foundation

The Rose Shop*

R. Harold Burton Foundation

T-Mobile Usa, Inc

Ruth's Chris Steakhouse*

Tanner Llc

Sorenson Legacy Foundation

Salt Lake City Arts Council

U.s. Bank

Utah Arts and Museums with funding from the State of Utah and the National Endowment for the Arts

Strong Audi

University Of Utah

The Church of Jesus Christ of Latter Day Saints Foundation

Utah Digital Services

Utah Toyota Dealers

The Front Climbing Club US Bancorp Foundation

Whole Foods Market

Lisa West Michelle and Todd Wolfenbarger Mary Bird and Lance Wood Merri Lee Zaba new and renewed members Richard Badenhausen

Questar Corporation Salt Lake Regional Medical Center* The Shubert Foundation

Zions Bank

Susan Chilton

Union Pacific Foundation

$10,000-24,999

Lee Dever

Beaver Creek Foundation

Lisa Larriva

City Creek Center*

Kristy Larsen

Cyprus Credit Union

Workers Compensation Fund

Jonette and Geoffrey Mangum

Dr. Jeremy Wimmer with Elite Chiropractic Center*

$1,000-4,999

Michael May

Eleve Dancewear

Anonymous

David and Colleen Merrill

Every Blooming Thing*

A&Z Produce*

Tom and Leesha Simons

Blank Family Foundation

Dell Stringham

Florence J. Gillmor Foundation

Sarah and Rich West

Jerome Robbins Foundation

$100,000+ George S. and Dolores DorĂŠ Eccles Foundation James Lee Sorenson Family Foundation Frederick Q. Lawson Foundation Meldrum Foundation S.J. and Jessie E. Quinney Foundation

Le Croissant Catering New Yorker*

Cannella's Restaurant and Lounge*

OOCL

Carol Baer Household

The Ray and Tye Noorda Foundation

Cigna Matching Gifts Program, Cigna

Richard K. and Shirley S. Hemingway Foundation

City Weekly

Rocky Mountain Power

Diamond Rental*

Trolley Square Ventures*

Utah Media Group

*in-kind donation

Blue Lemon Restaurant & Bistro* Bohemian Brewery*

Summit County Cultural RAP Tax

Savoury Kitchen

William H. and Mattie Wattis Harris Foundation

Lawrence T. & Janet T. Dee Foundation

Simmons Family Foundation

Nicholas & Company Inc.*

University of Utah Health Care Services*

Bill and Merlyn Denkers

foundations, corporate, and government support

Mills Publishing*

Caitland Photography

Clarke-Thomas Epic Brewing Company* Holiday Inn Express* Holland & Hart as of september 20, 2016

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upcoming events

52 west 200 south salt lake city, utah 84101

Ballet West II at the Rose

october 14-15

See Nicolo Fonte’s highly anticipated Piece of My Heart Dance with the Dancers Gala October 29 Enjoy a night of elegance and glamour, hosted by Company Dancers Ballet West performs in Cuba

november 5-6

As part of the The International Ballet Festival of Havana Madame Butterfly November 4-13 Opening production of the 53rd Season

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Front Row 2016 Volume 3