Front Row 2017/18 Volume1

2017 VOL UME 1

front row Celebrating

Sisk

The Front Row profile

Carmina Burana: Pulling back the curtain

Ballet West Announces New Executive Director

principal artists beckanne sisk & christopher ruud. photo by luke isley.

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years

5

Anniversary

Making you sweat since 2012 801.HOT.YOGA

SALTLAKEPOWERYOGA.COM 2 | FRONT ROW

COMMUNITY STARTS HERE 250 East Broadway, Suite 200, | Salt Lake City, UT 84111

CONTENTS 4 CAN DO 8 IAnniversary

Beckanne Sisk

Peggy Bermann and Adam Sklute A generous donation from Park City resident Peggy Bergmann to Ballet West will bestow the ceremonial title on the Artistic Director position as the “Willam Christensen Artistic Director Chair.”

carmina burana The Story Behind this Ballet

Willam Christensen was the founder of Ballet West as well as the San Francisco Ballet, the oldest ballet company in the United States. He grew up in Brigham City, Utah and is attributed with producing the first full-length Swan Lake and The Nutcracker in the Western Hemisphere.

Upon his death, at the age of 99 in 2001, the San Francisco Chronicle called him, “the Godfather of American ballet.”

“Peggy has been, and continues to be a wonderful and incredibly generous friend to Ballet West,” said CEO and Artistic Director, Adam Sklute. “This gift is especially meaningful, as she benevolently honors our founder, Willam Christensen.

A pioneer and revolutionary figure in the world of dance, it is an honor to have this title, and continue to do his venerable legacy justice.”

season sponsors

staff Josh Jones Writer & Editor

BALLET WEST ANNOUNCES LEGACY GIFT

featured story

principal artist beckanne sisk | photo by luke isley

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2017 VOL UME 1

Alex Moya Art Direction and Graphic Design

Sara M. K. Neal Interim Director of Marketing

Amy Falls Contributing Writer

“When I moved to Utah I immediately recognized the beauty and talent of Ballet West,” said Peggy Bergmann. “Ballet has always been a part of my life. I’m blessed to be so closely connected to the Company and the Academy. It’s a pleasure to support wonderful art—my heart is fuller because of it.”

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THE FRONT ROW PROFILE of BECKANNE SISK

(NOT)

Just a Small Town Girl She is a luminary in the world of ballet, and yet Beckanne Sisk remains humble. Unassuming and lacking any pretentions while always demonstrating grace and kindness, she both shatters stereotypes of a ballerina and comfortably embraces others. by josh jones

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featured story

I

NTERSTATE 20 AND U.S. HIGHWAY 80 converge in Longview, on the fringes of the East Texas Oil Fields, where they drill the earth through warm winters and long dry summers. Many kids dream of leaving towns like this, but not Beckanne. “I loved it. Everyone knew each other. When I was young, I thought I’d stay there my entire life and have children,” she says. “Even after I moved away, for a while, I still thought I would go back.”

principal artistbeckanne sisk | swan lake & portrait photos by beau pearson, rite of spring photo by luke isley

But, early in Beckanne’s life, family and friends knew that an idyllic, small town existence was not in the cards for her.

From the moment her sister Jessica took her to ballet class, there was a fascination.

She was mesmerized by the twirls and leaps. She wanted to join, but she couldn’t even reach the barre. The following year— at just five years old—she started training with Longview Ballet Theatre. At nine, she started attending the prestigious summer intensive at Philadelphia’s The Rock School and almost immediately, instructors and international repetiteurs took notice.

However, at 12 years old, her young dreams and big aspirations were nearly shattered when a doctor diagnosed her with Scoliosis, a curvature of the spine.

For many dancers, the diagnosis would be devastating and career-ending. “He said I needed to wear a brace around the clock… and that I would need to stop dancing.”

Clearly, Beckanne did not listen to the doctor’s orders. In fact, she says dancing is the only thing that makes her feel better.

The chronic condition has challenged her, and it can be painful, but she also believes it has made her work harder, also enabling her to perform some unique movements.

She continued her summer intensives at The Rock School, and a partial scholarship led to an invitation of which most

ballet students could only dream: a full time student position. At 14 years of age, Beckanne was seriously considering leaving the hometown she loved to be part of the professional ballet track at one of the top schools in the country.

“I really didn’t want to do it!”

Beckanne exclaims, laughing. “It was my Mom who pushed me, saying that I’d regret it if I didn’t take the opportunity.” Beckanne said her Mom is not a ‘dance mom,’ but that she saw the incredible opportunity for her daughter’s future. “Every other student at The Rock School was dying to be there, and I was the complete opposite—at first.”

When she got to Philadelphia, she quickly made friends and thrived. In fact, Beckanne first met Ballet West Demi Soloist Chelsea Keefer and Artist Oliver Oguma at the school.

Principals Beckanne Sisk and Chase O’Connell Days at The Rock are intense. Six days a week, students are awake by 7 AM, and online high school courses start at 8 AM. The first ballet technique class starts at 10 AM, followed by pointe class. A short lunch period leads to a Youth American Grand Prix rehearsal, and then another twohour ballet class. More rehearsals follow, and the day ends with homework—in the form of both book studies and ballet. Her visits to Longview became rare, limited often to Thanksgiving, Christmas, and perhaps a brief summer vacation.

“It was physically, and sometimes emotionally, difficult on all of us,” remembers Chelsea Keefer. “But, Beckanne kept things fun. We were always getting into trouble because of our giggling during class.” Donut runs and Guitar Hero competitions relieved stress, “but, Beckanne never missed a day or took sick time, even though I know her back was hurting sometimes.”

But, she did get homesick, especially in the first year. “It was bittersweet. I loved this new home, but I missed my four siblings, and a life that I really loved… I even tried to have a long distance relationship with my Longview boyfriend!” She laughs, “That didn’t last too long.”

“Today, I know that attending the school was the best decision of my life.”

Through all four years at The Rock, Beckanne competed at the prestigious Youth America Grand Prix, the world’s largest student ballet competition, offering scholarships and employment to countless students around the globe. Imagine having hundreds of tiny ballerinas hoping to be noticed, dancers in contortions doing final stretches, coaches and teachers barking corrections, and helicopter

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featured story

“ In our pantheon of incredible artists here at Ballet West, Beckanne is truly my jewel in the crown, a sparkling pearl, and the world is her oyster.”

Artistic Directors from around the world are also watching, and that includes Ballet West Artistic Director, Adam Sklute. “I still remember the first time I saw Beckanne on stage. She was 15 years old,” he recounts. “Here was an absolutely beautiful young woman, with phenomenal line, amazing extension, and a gyroscopic turning ability. I noticed her unique back right away, which fascinated me, but most of all, I saw a one-of-a-kind stage presence. It is that “it” factor that Beckanne has to this day that is hard to explain. It cannot be taught it cannot be learned. But, it is undeniable when someone has it. This, I thought, is someone I and Ballet West could mold into a true ballerina of the highest order.”

Two years later, back at YAGP, The Washington Ballet, Joffrey Ballet, Orlando Ballet, among others were recruiting her. However, in a quiet moment, Adam told Beckanne that he had been watching her grow and develop as a dancer. “From the beginning, it was his presence that was alluring,” she remembers.

“He was very genuine—easy to speak with and be around. He just felt invested in me, both as a person, and an artist.”

new home.” Instead of the regular two-year contract with Ballet West II, she spent one year in the ‘farm team,’ and was then promoted into the Company as a New Artist.

In Beckanne’s first year in the Main Company, she performed what can only be called a magnificent coup d’etat. It was February 2012, and Ballet West was readying a World Premiere of Don Quixote. Final casting was posted two days before opening night, and Beckanne visited the call board to review casting. She had been rehearsing for the understudy role of Kitri, the main character, and a role generally reserved for a Principal Artist. She slid her finger across the Excel document twice to confirm she was reading it correctly: Kitri.

Not just Kitri, but Opening Night Kitri!

“I remember the moment as if it was last night,” she says with a wide smile. “It was insane. I had no expectations to be anything but a cover. I was shocked.” She adds, “It is a role of a lifetime that you generally wait years to perform.”

Local and national press wrote about it; and, internationally, the dance industry woke up to Beckanne Sisk.

She ultimately decided to accept a contract with Ballet West II, and a few months later, 17year old Beckanne was on her way to Utah. She knew almost nothing of Salt Lake City, except that Chelsea was offering her a couch on which to sleep.

There are 22,634 Google hits when you Boolean search her name with “Kitri.” The reviews are packed with glowing praise: “command performance,” “flawless,” and “breathtaking” are just a few of the words used to describe her performance. “Dreams are made of moments like that,” she says.

Jeannie Potucek provided longer-term housing for Beckanne, as she does to this day for many Ballet West II dancers. “It was a great time, being in a professional Company, living with other dancers. I felt like I had found a

Because of the overwhelming response to Beckanne’s immersive roles in Don Quixote and as well as Sugar Plum Fairy in The Nutcracker, Adam nominated Beckanne for a Princess Grace Award, one of the most prestigious

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Beckanne Sisk as Kitri in Don Quixote awards for artists in theater, dance, and film who are in the early stages of their career.

Previously, only one other Ballet West dancer had ever received this coveted award, Jeff Rogers (now an Academy Instructor) in 1984, at the beginning of his career. Thirty-three years later, the Princess Grace Judges honored Ballet West and Beckanne Sisk with the award. To put a cherry on the sundae, she also won a Bronze Medal at the renowned Beijing International Ballet Competition.

Today, Beckanne has embodied just about every role she has ever wanted. She has danced in galas around the world, and has even performed onstage with Sammy Hagar.

“I feel blessed, I feel lucky, and I am happy.”

“Beckanne is a star ballerina and I have the utmost respect for her” notes Adam Sklute.

“She has a tireless work ethic and never stops learning. Even on a bad day her love and commitment to her art form never waivers.

This is the mark of a true artist, deeply committed to what she does. In our pantheon of incredible artists here at Ballet West, Beckanne is truly my jewel in the crown, a sparkling pearl, and the world is her oyster.”

principal artist beckanne sisk | photos by luke isley

parents analyzing other children. It’s the stuff of which Christopher Guest movies are made!

“It is like the Oscars of ballet,” says Beckanne, without much hyperbole. “Going out and being judged by peers at a ballet competition is hard.

It’s nerve-wracking, and honestly, horrible. Everyone watching in the audience is a critic!”

announcement

Michael Scolamiero Joins Ballet West as Executive Director Celebrated arts administrator joins Company to guide continued expansion

B

AL L E T W E S T IS E XCITED TO announce the appointment of Michael Scolamiero as Executive Director. The selection comes after an extensive six-month international search, led by Michael Kaiser, President Emeritus of the John F. Kennedy Center for the Performing Arts in Washington D.C. Scolamiero will collaborate with Artistic Director Adam Sklute who recently renewed his contract with Ballet West.

the dance industry and I am delighted to welcome him to Salt Lake City. I look forward to developing a strong business partnership so that together we can build Ballet West into the future.”

In September 2016, Sklute took on the dual role of interim CEO and Artistic Director while he and the Board assessed the needs of the Company. “My time in this dual role allowed us as a team to analyze our phenomenal growth, and our future. It was this methodical look at strategies for advancing all aspects of the organization that led us to Michael.” Added Sklute, “I am grateful to relinquish the CEO position and return to the work I was hired by Ballet West to do ten years ago.”

“There was broad interest in the Ballet West position from admired industry professionals,” said Kaiser. “My goal was to find an administrator who is uniquely attuned to the specific long term artistic goals Adam and his team have set for themselves. Michael Scolamiero, with his successful tenure at some of the nation’s most beloved arts organizations, is just the person to help Adam fulfill his goals, and continue the sustainable growth of the Company.”

Scolamiero was the Executive Director of Pennsylvania Ballet for 17 years where he led a successful $12 million campaign to boost the company’s size, start an endowment, and fund new ballets. He also oversaw the planning and kickoff of a $25 million campaign to fund a new building for the Company. Under his leadership, the budget rose from $6.5 million to $11.3 million. Most recently, Scolamiero served as Executive Director of Miami City Ballet, one of the nation’s largest ballet companies.

During his tenure, the Company set records for contributed revenue, recorded operating surpluses of $2.6 million in two years, and reduced debt by more than $2 million.

“Michael’s skill set is exactly what Ballet West was seeking—a stellar record of donor relations, nonprofit governance, board development, and sustainability,” said Artistic Director Adam Sklute. “Michael is deeply respected in

“Utah is a place of exquisite natural beauty with a deep cultural love of fine arts. For more than a decade, I’ve watched from afar as Ballet West exploded under Adam’s leadership.”

Scolamiero will officially begin in October, before the annual Ballet West Gala. “I am excited to move west and make Salt Lake City home,” said Scolamiero. “Utah is a place of exquisite natural beauty with a deep cultural love of fine arts. For more than a decade, I’ve watched from afar as Ballet West exploded under Adam’s leadership. It is especially exciting to become part of an organization in the midst of a renaissance and on strong financial ground. The energy at Ballet West is exhilarating and I am energized and quite optimistic about the possibilities.”

John Miller, Ballet West Board President said, “The search committee was dazzled by the overall quality and quantity of candidates for this important role. In the end, I am thrilled to have Michael joining our team. He proved to be the apogee of temperament and talent we toiled to find. I look forward to introducing him to the community. Finally, I would like to thank Michael Kaiser for his guidance and all those who helped make this selection. It was an exhaustive search and I believe we found an ideal and impeccable Executive Director in Michael.”

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community

From Can’t to Can:

20 Years of I CAN DO

P

ETER CHRISTIE WAS STILL DANCING when then-Artistic Director Jonas Kåge asked if he would be interested in heading a project. “I’ve heard you’re good with kids. I’d like to start a program that teaches movement in public schools,” Peter recounts. Twenty years later, I CAN DO is one of several of Ballet West’s Outreach and Education Initiatives. The myriad of programs are the most expansive of any ballet company in the United States, reaching more than 100,000 individuals every year across the State.

With meager resources, and a tiny budget, Jonas reached out to Jacques D’Amboise, the famed New York City Ballet Principal Dancer, who after retiring launched the National Dance Institute that taught dance in low income community schools. D’Amboise was a longtime friend of Ballet West Founder, Willam Christensen, and had guested several times with the Company. He consulted and even flew to Salt Lake to launch the first program with Peter at Whittier and M. Lynn Bennion Elementary Schools. Almost 120 Fifth Grade students participated that first year, going to the gymnasium to experience dance first-hand. Peter returned 20 times that year, teaching choreography to the children, which they performed at the end of the school year for their families.

After that first year, Carla Yrigoyen, one of the Fifth Grade Teachers, wrote to Peter, “I’ve worked with Rudy for five years and every year his reading test results proclaimed—No Progress. He was at a Kindergarten level. When I tested him about a week ago, I was amazed and I had tears in my eyes.

Rudy was reading near-Grade level. I attribute this shift to his involvement in your dance program. He feels good about himself and school. I believe the

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“I can be anything when I grow up because now I know how hard I can work and I know that I can do anything I want to if I just believe in myself.”

Gennessee, Washington Elementary

I CAN DO, a for Inspirin About Not Out, offers f students on dance e experien several per opportu “I learned that they

“I have told my mom that I have no idea what I want to be when I grow up.

Now I know.”

Jennifer, Scera Park Elementary

didn’t want to teach us to be professional dancers. They were teaching us not to quit.”

Jahaziel, Rose Park Elementary

community

“I feel better about myself, that I am good at something I like. I have learned commitment to stay, I respect myself more and it helps me take my mind of things I worry about.”

Ian, Dilworth Elementary

an acronym ng Children t Dropping fifth-grade a handseducation nce and rformance unities.

physical demands that dance asks of our bodies helped him find self-esteem and motivation.

It is delightful to see children becoming more respectful, more dignified, and having more personal integrity under the guidance of this program. Thank you.”

That is just one of hundreds of emails and handwritten letters Peter keeps on his desk. He receives more notes each year as the program is now administered in 12 schools, reaching more than 1,000 students every year.

Researched by Madison Salazar.

EDUCATION AND OUTREACH SPONSORS: Simmons Family Foundation Florence J. Gilmore Foundation Sorenson Legacy Foundation Salt Lake City Arts Council Rocky Mountain Power Foundation Lawrence T. and Janet T. Dee Foundation Beaver Creek Foundation B.W. Bastian Foundation Snow, Christensen & Martineau R. Harold Burton Foundation The Rea Charitable Trust Richard K. and Shirley S. Hemingway Foundation

Summit County Cultural RAP Tax Henry W. & Leslie M. Eskuche Foundation The William H. and Mattie Wattis Harris Foundation Church of Jesus Christ of Latter-day Saints Foundation Wells Fargo America First Credit Union Union Pacific Merrik Bank U.S. Bank Rocky Mountain Power

Ballet West Receives Prestigious Diversity Award

When Adam Sklute started at Ballet West, he said, “I want my dancers to be as diverse as the community we dance.” Now, ten years later, dancers of all colors and creeds, from several foreign countries reflect one of the most diverse ballet companies in the country. In recognition of these efforts, Ballet West received the Utah Diversity Connection’s Business Award, which recognizes employers that have built diverse workforces and have strong diversity initiatives. It is presented in conjunction with the Society for Human Resource Management (SHRM).

The Huffington Post and The New York Times have recognized Adam for the diversity presented on the Ballet West stage. Recently, Sarah Kaufman of The Washington Post wrote, “Sklute, as savvy as he is skilled, also seems uniquely positioned to be the ballet director to bring the art form into the modern age. To see quite a few African American dancers, including ballerinas, in a classical production was momentous indeed and deeply moving.”

The drive for a more inclusive ballet environment continues off stage where Felicia Cowan, Human Resources Director has pushed for greater diversity among the administrative staff. Felicia reaches out to local organizations to notify minority communities of openings. She also cheerleads women in the workplace and nurtures their development. She encourages men and women to bring children to work if they need to, to work from home, when necessary, and has an flexible leave program after pregnancy.

The Company thanks Utah Diversity Connections for their recognition of Ballet West’s commitment of strength through diversity.

photos by brian nicholson

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+

In 1803, in a dusty monastery in Bavaria, a librarian re-discovered a manuscript not seen since the 13th century. Later named the Carmina Burana, the manuscript contained 254 poems and dramatic texts. Believed to be the works of students and clergy, researchers date some of the texts back to the 11th century. Curators who started to transcribe the Latin, German, and French works were surprised to find irreverent, satirical, and sometimes risquĂŠ themes, abounding throughout the Carmina Burana.

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artists of ballet west | photos by beau pearson

Lost Found

backstage pass

N 19 36, C ARL ORF F SE T 24 OF THE P OE MS TO MUSIC ,

quickly turning it into a popular piece of classical repertoire. Just over an hour long, the composition has been featured in film, television, video games, and covered or sampled by Michael Jackson, and even Ozzy Osbourne. During World War II, Orff remained in Germany and continued writing music until his death in 1982, but he never found success again as he had with Carmina Burana.

When John Butler first set Carmina Burana on dancers at the New York City Opera in 1959, it became an instant success, although it was sometimes controversial. Ballet West Founder Willam Christensen first staged Butler’s Carmina Burana in 1974. Some audience members walked out, but those who stayed gave the piece a prolonged standing ovation.

“When we went for the bow, the audience was going wild. It was intense, emotion and very powerful,” said Bruce Caldwell, Ballet Master and Archivist. Now, 43 years later, Bruce says Carmina Burana has been performed by Ballet West more than 100 times, making it one of the most popular pieces in the Company’s repertoire.

Artistic Director Adam Sklute sat down to answer a few questions about Carmina Burana, and what audiences can expect from Nicolo Fonte’s new creation.

What is the Legacy of our current production of Carmina Burana?

Of the many ballet versions of Carmina Burana, our most recent production, choreographed by John Butler, is probably the most-staged and well-known version. Mr. C brought it into the Ballet West repertoire in 1974. At that time, it was a very daring thing for him to do, because the subject matter is rather complicated. It is about monks slipping out of the monastery and leaving behind their sacred duties and reveling in a very human and profane way. During this production, the choir was placed throughout the box seats in the theater. They could then look down at the orchestra and the maestro conducting. It was quite a spectacle.

But, in the 70’s, this subject matter was a bit scandalous. Nevertheless, Mr. C, who was born and raised in Brigham City, Utah, understood the importance of this piece of art. He also understood the magnitude, excitement, and drama of the music and choreography of Carl Orff’s score. It is Ballet West’s most oftenrequested non full-length work. It is also the piece about which I receive the most complaints.

Why do Utahns love this ballet?

Just listen to the music. It is so dynamic and exciting. Those first strains of Carl Orff’s O Fortuna with the chorus—they knock your socks off—you are ready to fall out of your chair within seconds of the first note. The score goes

from extreme power and drama to extreme delicacy, purity, and simplicity. It takes many cues from early Stravinsky, while adding unique harmonies that are beautiful and bombastic. I think the drama of music, the drive of orchestral sound, and the excitement of dance are the reasons audiences are excited and inspired by it.

“Nicolo’s idea is to have a strong battle between the sacred and profane. It will not be obvious and nothing is literal, but that is what I love about his work… it is both unexpected and inevitable.”

Nicolo Fonte working with Ballet West artists

Since you are staging Carmina Burana during your 10th Anniversary Season, what personal connection do you have to this piece?

Mr. C received both incredible praise and backlash when he presented Carmina Burana.

I thought, “What better way to begin my 10th Anniversary than with a piece that is so regularly requested?” I’m interested in inspiring audiences, giving them something they love, but also challenging them… I hope this production will do all three.

I also love and admire our Resident Choreographer Nicolo Fonte’s work. One of his great gifts, in my opinion, is his ability to reimagine the great classics. Few choreographers can re-envision the great dramatic works as Nicolo can. We’ve done many works with him now: his electrifying Rite of Spring, his fascinating Almost Tango, his brilliant Bolero. Each one shows his unique brand of musicality and movement.

This will be very different, as Nicolo’s idea is to have a strong battle between the sacred and profane. It will not be obvious and nothing is literal, but that is what I love about his work… it is both unexpected and inevitable.

Why pair this ballet with George Balanchine’s ondulating Serenade?

The intensity, power, and profane—at times— subject matter needed to be paired with something that would both complement them, and be completely different. George Balanchine’s Serenade is one of the most serene, elegant, and classic works that we have in our repertoire, and I felt it was a perfect pairing.

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local stories

In 1935, Tanner moved the fledgling O.C. Tanner Company into its 19-year home in the basement of our very own Janet Quinney Lawson Capitol Theatre. The 1949 fire in the Capitol Theatre, in the days it was still a cinema, actually occurred during O.C. Tanner’s tenure in the building.

Tanner and his operation were unscathed, but a teenage usher tragically perished in the blaze.

A “Charming” Story The Salt Lake-based O.C. Tanner Company is the lasting legacy of its influential namesake, Obert C. Tanner. While a conversation about the arts in Utah is not complete without mention of Ballet West founder Willam Christensen, the Utah-born Tanner also played an important role in many local cultural mainstays. by amy falls

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Tanner manufactured lapel pins and emblematic awards from the Capitol Theatre until 1954, when he purchased land to build the company’s first factory. That site is now also home to the company’s international corporate headquarters.

O.C. Tanner has since grown to become a global leader in the employee-recognition industry, as well as an esteemed jewelry retailer.

Shortly following O.C. Tanner’s move from the Capitol Theatre, Mr. C’s now-beloved The Nutcracker had its Utah premiere at Kingsbury Hall. This was only three years after Mr. C spearheaded the ballet department at the University of Utah, the first of its kind in the U.S. The two men’s careers were now reaching critical mass, growing closer to the assemblage of those legacies for which we now remember them.

In 1968, the then-named Utah Civic Ballet officially became Ballet West, following its initial incorporation in 1963 with Mr. C at the helm. In 1976, the first O.C. Tanner jewelry store opened in the Kennecott Building, currently the Zions Bank building, on South Temple. (In 2009, the downtown retail location opened in the 1905 building on State Street that has previously served as both the Salt Lake City Library and the Hansen Planetarium.)

Throughout their lifetimes, Tanner and his late wife, Grace Adams Tanner, supported Ballet West, Utah Opera, and a number of humanitiesdriven projects throughout Utah. In the 1970s, Tanner chaired the Bicentennial Art Project, which included the construction of Symphony (Abravanel) Hall and the Salt Lake Art Center, as well as the restoration of the Capitol Theatre.

The Tanners donated a considerable sum to the initiative, almost half of which is said to have gone specifically toward gold leaf.

Obert Tanner and Mr. C have been recognized extensively for their contributions, both to the still-flourishing companies they began, and beyond. Tanner received seven honorary doctorate degrees in his lifetime and the Presidential National Medal of Arts from Ronald Reagan in 1984. Mr. C, named professor emeritus at the U of U in 1981, was also an honorary doctorate and is hailed as the godfather of American ballet.

Ballet West did not move into its current home in the Capitol Theatre until 1978, the same year Mr. C retired from the company and long after the O.C. Tanner Company had moved out.

However, the enduring legacies of Obert Tanner and Mr. C remain at work supporting similar goals today.

As Ballet West Vice President of Development and Mr. C’s granddaughter, Sarah West, explains, “Obert Tanner and Mr. C were pioneers in their fields, and for their time. Now, both companies are leaders within their international industries and in their local communities.”

In a brand-new union of the duo, Ballet West is excited to introduce two limited-edition O.C. Tanner charms to commemorate Ballet West’s new physical production of Willam Christensen’s The Nutcracker, which premieres this December.

The individual charms are available via special order (Cost: $65 per charm; choose from a Nutcracker or a Clara) to those who have donated $25 or more to Ballet West’s Nutcracker Campaign. For inquiries, please call or email Hannah Bowcutt, Campaign and Benefits Coordinator: 801·869·6919, or hbowcutt@balletwest.org.

first soloist sayaka ohtaki | photo by erik ostling

T

HE L ATE SCHOL AR, PROFESSOR, businessperson, and devoted patron of the arts and humanities began the O.C. Tanner Company out of his mother’s basement in 1927. That same year, Mr. C joined the vaudeville circuit with his brother Lew, launching his prolific dance career parallel to Tanner’s self-started business trajectory.

upcoming opportunities

2017/18 Season Events 10/11–10/14: Donor Tour to the Joyce Theater 10/19–10/22: Aladdin 10/28: Ballet West Gala 11/3–11/11: Carmina Burana with Serenade

4/12: Beer & Ballet at the Janet Quinney Lawson Capitol Theatre

11/29: The Nutcracker Sneak Peak For costume sponsors (by invitation for $500 and above)

4/13–4/21:The Shakespeare Suite with Return to a Strange Land and Summerspace

12/2: Opening Night of The Nutcracker

5/18–5/26: National Choreographic Festival

12/2–12/30: The Nutcracker 1/16: Reception to celebrate The Nutcracker campaign (by invitation for $500 and above) 2/9–2/25: Cinderella

principals beckanne sisk & chase o’connell | photo by beau pearson

March 2017: Mr. C’s Dinner Date to be announced

EVENTS FOR HERITAGE CLUB MEMBERS. To become a member, call 801·869·6963 10/24 In Studio with Nicolo Fonte

4/5: In Studio with David Bintley and guests

2/1: In Studio with Malin Thores and guest

5/10: In Studio with Natalie Wier

3/22: In Studio with Africa Guzman

Ballet West will soon premiere a brand new physical production of Willam Christensen’s beloved classic, The Nutcracker, thanks to a very generous gift from the George S. and Dolores Doré Eccles Foundation.

Be a part of this holiday tradition by playing a role in the Nutcracker Campaign. Join this campaign for as little as $25 and have the opportunity to purchase a commemorative charm. Sponsor a costume and see your name dance on stage for the next 25 years.

Visit our website at balletwest.org/support/nutcrackercampaign or call Hannah Bowcutt, our Campaign and Benefits Coordinator at 801·869·6963.

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Donors founder’s circle We thank our Founder’s Circle donors, each of whom have given significantly to the Company throughout its history, either through collective annual giving or onetime gifts.

B.W. Bastian Foundation Barbara Barrington Jones Beano Solomon Emma Eccles Jones Foundation Frederick Q. Lawson Foundation George S. and and Dolores Doré 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 The Huntsman Foundation Meldrum Foundation Shari and David Quinney Val A. Browning Foundation heritage club Mr. C & Mrs. Wallace Peggy Bergmann John and Kristi Cumming Paul and Cheryl Huntsman Barbara Barrington Jones Barbara Levy Kipper Thomas and Mary McCarthey John and Marcia Price Family Foundation Shari and David Quinney Beano Solomon Krista and Jim Sorenson Archivist and Director Sue J. Ellis Carole Wood and Darrell Hensleigh Cindy and Howard Hochhauser Vilija Avizonis and Greg McComas Judy Brady and Drew W. Browning DiFiore Family Alan and Jeanne Hall Foundation Katharine Lamb

14 | FRONT ROW

Each issue of the Front Row features 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.

Dan P. Miller John and Andrea Miller Brian and Janae Powell Keith and Nancy Rattie Jeanne Potucek Erin and Bryan Riggsbee Theodore Schmidt Jonathan and Liz Slager Jennifer Strachan and Tom Biersbach Barbara L. Tanner Brad and Linda Walton Julia S. Watkins Choreographer and Ballet Mistress Margaret Anderson Kim Strand and Mike Black Judy and Larry Brownstein Cecile and Harold Christiansen Jeanne M. Kimball Angela Martindale and Michael Snow Adam Sklute and Christopher Renstrom Madeleine and Harvey Plonsker Teresa Silcox Stephany Alexander and David West Kathleen and Andy Blank The Brown Family Foundation Carol Browning, Céline Browning, and Rete and Rikki Browning Alexis Carr Carol Carter Carol Christ Jim and Barbara Clark Meredith and Stephen Drechsel John and Joan Firmage Bonnie Jean Beesley Donna and Jeff Gordon John and Ilauna Gurr Ron and Shelley Hansen Marc and Mary Carole Harrison Jennifer S. Horne Scott Huntsman Tina Jensen Conrad and Anne Jenson Cynthia Lampropoulos David and Naja Lockwood Melanie and Paul Lyon Jennifer and Gideon Malherbe Willis McCree and John Fromer

Peter and Catherine Meldrum Rayna Mintz Anthony and Jessica Mirabile Dr. Pamela Dee Parkinson The Rickman Family Ellen and Chris Rossi Jerry and Linda Rowley Patterson Family Memorial Foundation George H. Speciale Sue and Jack Stahl Stanford and Dixie Stoddard Rick and Chris Veit Roy Vincent Sue and Walker Wallace Jacquelyn Wentz Marelynn and Edward Zipser Anonymous Ballet Master Bradley Allen Bené Arnold Zlate Balulovski Pascale De Rozario and Jonathan Crossett Thomas and Lisa Dunlap Stephen Anderson Gordon Irving David P. Heuvel and Johann Jacobs Heather Keller Shelley Kendrick Jennifer Moldre Benjamin Romney Mark and Linda Scholl Maarten Terry Cynthia Washington John and Marilyn Alleman Jeffrey Bronson Anderson Petras and Liuda Avizonis Carol Baer Govert Bassett Frances and Jerome Battle Clisto and Suzanne Beaty Gary Beers Alene Bentley Sharon and Michael Bertelsen Ginny Bostrom Monica and Larry Buesser Amalia Cochran William and Joan Coles William and Melissa Connelly Peter Dejonge and Susan Johnson

Sissy Eichwald Karen L. Freed Cammy Fuller Patti Eylar and Charlie Gardner David Keith Garside and Audrey Miner Marla M. Gault Ann and Rick Gold Mary Gootjes and John Davis David and Sandylee Griswold Peggy A. Norton and Scott W. Hansen Sandy Haughey Connie Holbrook Mark and Wendi Holland Julie Hopkins Daniel Horns and Renee Zollinger Larry and Tina Howard Robert and Dixie Huefner David and Linda Irvine Marilyn and Chester Johnson G. Frank and Pamela Joklik Roxanne and Tony Lazzara The Kohlburn/Lecointre Family Carol and Guy Kroesche Katherine Probert Labrum Katharine Lauer David E. and Helane B. Leta Rebecca Marriott Champion Rachele McCarthey and Brock VandeKamp David and Colleen Merrill Sheri P. and Ted Morgan Scott and JoAnn Narus Oren and Liz Nelson Linda S. Pembroke Andrea Peterson Jeanie Pollack Lee Quinney Jeff Van Niel and Nancy Rapoport Suzanne and David Razor Gary and Joann Rieben Robert and Nancy Schumacker Katherine Scott Aharon Shulimson and Julie Terry John Sklute James R. Kruse and Mary Jo Smith Nancy and Robert Sparrer Jennifer Speers Laura Scott and Rodney Mena

Lou Ann Stevens Cassandra Suite-Smith Stephen and Vanice Thomson Amy Wadsworth and David Richardson Susan Warshaw Mark Weisbender Bill and Betty Weldon Elaine Wolbrom Mary Bird and Lance Wood Anonymous new and renewed members Jennifer Abouzelof John and Marilyn Alleman Judy and Eric Anderson Jodan Atkin Kristina and Michael Bailey Byron and Deborah Barkley Lisa Barnes Colleen Barnes Carolyn Barrani Chris Bateman Edward and Kathy Bates Brad Batig Pamela Bermen Ronald and Tracy Bolander Linda and Chris Boren Anneli and Glen Bowen Robyn and Brent Brown Leslie Calvert Sharon Carrier Nancy Cohn and George Cassidy Lind Charlene Allison Clark Richard and Julia Codell Peter and Heather Cooke Charles and Susan Critchlow Ron and Lindsay Cutshall Cindy Dahle Stella Papa-Dakis Charlene Anderson and Ron Davidson Debbie Davis Eric Despain Brandon Dixon Denise and Stuart Doebbeling Paul and Terrell Dougan Michelle and Fred Dunbar Douglas Edwards Barbara Hall and John Eicholtz Janet Ellsworth Chari Farr

Lowell Finney Wayne and Aileen Freckleton Janet Fuller Susie Funk Bryson and Jan Garbett Ruth Gardner Laura Gelfand Cathy and Larry Gelwix Dan Deggleby and Amy Geroso Diane Anderson and Karen Glick Nena Germany Greer Abbie Griffin Kaye Grimmett Mardee Hagen Robyn Hall Ann Marie Hamar Cynthis Hamman Paul and Patricia Hansen J and Cassandra Hansen Joel and Frances Harris Rob Harrison Laurie and Thomas Harvey W. and Janeal Hodges Mark and Wendi Holland Douglas Holmes Carolee Hosfeld Linda Hull Elise and Paul Hutchings Karen Hyde Linda and Jim Jacobs Sandra Jarvis Elisa Jenny Jason Jentzsch Miki Bode-Jones Earl B. Jones Bernice and Richard Jones Lou Ann and Howard Jorgensen Marcia and Robert Vickery Jr Blake Keithley Scott Kendell Timotha Kent Jessica and Reese Kidman Gene and Richard Klatt Priscilla Klaus Barbara Kornet Carol Kramer Masie Lancaster Sharla Landers Scott and Jessica Laroche Lisa Larriva Chamonix Larsen Robert and Miriam Lenz

Katherine Liddle Marissa Linback Dimity Liu Mark Love Susan Loving Donna and David Lyon Edward and Heidi Makowski Phyllis Mandel Heidrun Mandy Ronald and Denece Mangone Thomas and Mary McCarthey Joanne McGillis Mark and Annelee McKean Marjorie and Thomas Mclaughlin Heather McMaster Michael McMillan Peter and Catherine Meldrum Keith and Donna Mercer David and Colleen Merrill Ralph Wieben and Pamela Misieka Bonnie Mooney Sue Morgan Julie Morriss Meredith Alden and J. Kevin Murphy Bonnie Nell Karen Nichols Linda Nielson Mary Anne and Kevin O’Connell Randy and Sandra Okland Helen Olpin June Olsen Lisa Osborne Debra Packard Caroline Paletta Dorothy Palmer Ronald and Camille Parker Tim Payne Kristin Petersen Amy Phelan Troy and Helena Piantes Ranae Pierce Laree Prisbrey Anne Rasmussen Randy and Tammy Richards Brooke Anderson and Shay Rigby Wilma Corkery and John Ripley Delbert and Rebecca Ririe Rodolphe and Paula Ruffy Carole Rusho

Shahab and Jan Saeed Nannette and Daniel Sageser Judy Scharffs Hilary Jacobs and Daniel Schelling Barbara Schmidt Cynthia and Ted Schofield Carole Sharp Richard and Lorraine Shew Ardean Smart Mercedes Smith Rae Smith Kim and Steven Smith Patricia Smith Jeannie Southwick Gayle Stewart James Stewart Judith Stirrat Don and Regina Stromquist Joan Swain Sandra and Paul Swensen Cynthis Swensen Jeffrey Taylor Yvonne Thele Linda Tueller David Tundermann Richard Badenhausen and Katherine Venti Mary Wimmer Barbara Wolin Gilbert and Caren Wootton Katherine Yonally foundations, corporate, and government support $25,000–99,999+ Ancestry Dominion Energy Emma Eccles Jones Foundation George S. and and Dolores Doré Eccles Foundation The Huntsman Foundation James Lee Sorenson Family Foundation Janet Q. Lawson Foundation Jerome Robbins Foundation Meldrum Foundation Nuvestack Salt Lake Regional Medical Center Sorenson Legacy Foundation The Marriner S. Eccles Foundation The Shubert Foundation, Inc.

Utah Division of Arts and Museums Utah State Legislature Utah Toyota Dealers $10,000–24,999 B.W. Bastian Foundation Beaver Creek Foundation C. Comstock Clayton Foundation Eleve Dancewear Dr. Jeremy Wimmer with Elite Chiropractic Center The Florence J. Gillmor Foundation Lawrence T. & Janet T. Dee Foundation National Endowment for The Arts O.C. Tanner Orient Overseas Container Line The Rea Charitable Trust Reagan Outdoor Advertiseing The Richard K. and Shirley S. Hemingway Foundation Salt Lake Power Yoga Simmons Family Foundation Summit County RAP Tax Wells Fargo Foundation Zions Bank The Edward L. and Bessie Boyce Gillmor Foundation New Yorker Rocky Mountain Power Foundation Anonymous $5,000–9,999 Bambara Restaurant Blue Iguana Discovery Gateway Frederick Q. Lawson Foundation High West Distillery & Saloon KUTV Media One Mountain America Credit Union Partnering for Performance Promontory Foundation The R. Harold Burton Foundation Ruth’s Chris Steak House The Church of Jesus Christ of Latter-Day Saints Foundation Union Pacific Foundation

University of Utah Unlimited Lifestyle Inc. The William H. & Mattie Wattis Harris Foundation Workers Compensation Fund Henry W. and Leslie M. Eskuche Foundation U.S. Bank $1,000–4,999 Allen Tran A&Z Produce Mallory Berge Blue Lemon Restaurant & Bistro Caitland Photography City Weekly Rebecca Clarke-Thomas Epic Brewing Company Holiday Inn Express The Gym at City Creek Holland & Hart Industrial Supply Company John and Dora Lang Foundation Katherine W. & Ezekiel R. Dumke Jr. Foundation KB2N KPCW KUER Merrick Bank Nicholas & Company Inc. The Rose Shop Salt Lake City Arts Council Savoury Kitchen Semnani Family Foundation Snow, Christensen & Martineau Tanner LLC T-Mobile USA, Inc. Utah Digital Services Utah Hispanic Chamber of Commerce Utah Media Group Goldman Sachs Joanne L. Shrontz Family Foundation

Donations as of 9/5/17

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An Evening of Celebrations OCTOBER 28, 2017 For table sponsorships and single tickets call 801路869路6963 Performance only tickets, call Patron Services at 801路869路6900 16 | FRONT ROW

first soloist sayaka ohtaki & artist paige adams photo by beau pearson

52 west 200 south salt lake city, utah 84101