Costume Design recreated by Esteban Francés from sketches by Georges Rouault (added July 1950)
Associate Lighting Design by Ben Rawson
COMPANY BALLET REPETITEURS
Angela Agresti, Rory Hohenstein, Eduardo Permuy
CHOREOGRAPHER-IN-RESIDENCE
Claudia Schreier
DEAN OF THE CENTRE FOR DANCE EDUCATION
Sharon Story
THE COMPANY
Santiago Bedoya, Severin Brotschul, Khulan Burenjargal, Georgie Grace Butler, Valeria Chaykina, Catherine Conley, Larissa Dal’Santo, Talisson Farias, Brooke Gilliam, Jessica He, Gianna Horton-Sibble, Airi Igarashi, Darian Kane, Matoi Kawamoto, Milei Lee, Sojung Lee, Jordan Leeper, Guilherme Maciel, Juliana Missano, Miguel Angel Montoya, Marius Morawski, Mayu Nakayama, Denys Nedak, Carraig New, Sayron Pereira, Sophie Poulain, Ángel Ramírez, Júlio Santos, Mikaela Santos, Anderson Souza, Paxton Speight, Emanuel Tavares, Jonas Tutaj, Munkhjin Ulziijargal, Luiz Fernando Xavier, Rei Yamaguchi, Nicholas Yurkevich
ATLANTA BALLET 2
Caroline Giltner, Daniel Gray, Sayaka Iwase, Camille-Margaret Jackson, Stacey Johnson, Jacob Lainchbury, Emily McAllister, Sakura Natorigawa, Avery Nelson, Isabela Oku, Leo O’Reilly Okuno, Dyhan Pierre, Ícaro Queiros, Gianni Salazar, Eliza Soto, Tommaso Troso, Kahlen Wright, Rachel Olivia Zinman
Atlanta Ballet 2 courtesy of Atlanta Ballet Centre for Dance Education
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Dorothy Moses Alexander - Atlanta Ballet Founder, 1929 - 1960
Robert Barnett - Artistic Director Emeritus, 1961 - 1994
John McFall – Artistic Director, 1994 - 2016
G E N NADI NE DVIGIN ( Ar tistic Director), in Februar y 2016 , was named
G E N NADI NE DVIGIN ( Ar tistic Director), in Februar y 2016 , was named
Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet, as a soloist, before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet, as a soloist, before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
GENNADI NEDVIGIN (Artistic Director), in February 2016, was named Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age five. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet as a soloist before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While 19 seasons at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, the Japan Grand Prix and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
TOM WEST (Executive Director)
TOM WEST (Executive Director)
assumed his role as Atlanta Ballet’s
assumed his role as Atlanta Ballet’s
TOM WEST (Executive Director) assumed his role as Atlanta Ballet’s Executive Director in 2021. West’s career in arts management spans more than 25 years, including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts management from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading Farrell’s effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute (AFI) in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers. Since joining Atlanta Ballet in 2021, West’s focus has been on Atlanta Ballet’s long-term financial health and prestige, expanding engagement in the greater Atlanta region and breaking down historic barriers to full participation in the artform of Ballet for all.
Executive Director at the top of the 2021 | 2022 Season. West’s career in arts management spans for more than 20 years including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts administration from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to the serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading the effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West also served on AFI’s senior leadership team, shaping organizational strategy for the Institute’s filmmaker training programs and working with major studios developing on targeted diversity initiatives, as well as its strategy for weathering the COVID-19 pandemic. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers.
Executive Director at the top of the 2021 | 2022 Season. West’s career in arts management spans for more than 20 years including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts administration from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to the serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading the effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West also served on AFI’s senior leadership team, shaping organizational strategy for the Institute’s filmmaker training programs and working with major studios developing on targeted diversity initiatives, as well as its strategy for weathering the COVID-19 pandemic. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers.
S HARO N S TO RY (D ean of the C entre for D ance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
S HARO N S TO RY (D ean of the C entre for D ance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
SHARON STORY (Dean of the Centre for Dance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
ANGELA AGRESTI (Company Repetiteur) grew up in Indianapolis, Indiana, where she began her training at the Jordon College Academy of Dance and later transferred to North Carolina School of the Arts (UNCSA) for ballet. After UNCSA, Agresti danced with Cincinnati Ballet for one season before joining Het Nationale Ballet in Amsterdam where she danced a mix of classical ballets, Balanchine works, Hans van Manen repertoire, contemporary and neoclassical works, and new creations. Agresti has been featured in William Forsythe’s Second Detail, Alexei Ratmansky’s Don Quichot, Shen Wei’s Sacre du Printemps, and other notable ballets, such as The Dream, Paquita and Swan Lake. During her time dancing in Amsterdam, Agresti gained experience as a choreographic assistant for multiple choreographers’ stage, film, and festival works. She traveled to Riom, Switzerland, assisting works by Juanjo Arques and Peter Leung for the Origen Cultural Festival. She also worked with Peter Leung on the first ever virtual reality ballet entitled Nightfall. Upon returning to the U.S. in 2018, she assisted Annabelle Lopez Ochoa in the making of Tulips and Lobster for Kansas City Ballet and re-staged the work for the company the following season. Since joining Atlanta Ballet in 2022, she has worked with classical repertoire such as Don Quixote, La Sylphide, and Coppélia, as well as new works for Remi Wörtmeyer, Garrett Smith, Juliano Nunes, and Annabelle Lopez Ochoa. Agresti has had the privilege of guiding dancers in Tu Tu (Stanton Welch), Classical Symphony (Yuri Possokhov), and 7 for Eight (Helgi Tomasson), and has staged the North American premiere of Coco Chanel: The Life of a Fashion Icon
RORY HOHENSTEIN (Company Repetiteur) was born in Washington D.C., where he began dancing at the age of six. Hohenstein furthered his training from the age of 12 at the Kirov Academy of Ballet. At 17, he joined Le Jeune Ballet de France in Paris. In 2000, he joined San Francisco Ballet as a member of the corps, being promoted to soloist in 2006. In 2008, he moved to New York, joining Christopher Wheeldon’s company, Morphoses, performing in its home seasons at New York City Center and at Sadler’s Wells in London. He spent a season dancing with the Lar Lubovitch Dance Company before joining the Joffrey Ballet in 2011, where he continued to be a leading artist with the company through the 2018-19 season. Some personal highlights include dancing the roles of Romeo in Krzysztof Pastor’s Romeo and Juliet, Riff in Jerome Robbins’ West Side Story Suite, Fancy Free, Red Man in Lar Lubovitch’s Elemental Brubeck, The Roper in Agnes De Mille’s Rodeo, Levin in Yuri Possokhov’s Anna Karenina, Forgotten Land from Jiří Kylián and Wayne McGregor’s Eden/ Eden. As a Repetiteur Rory has staged several works from choreographers Helgi Tomasson, Lar Lubovitch and Liam Scarlet. He has been a Company Repetiteur with Atlanta Ballet since 2019.
EDUARDO PERMUY (Company Repetiteur) was born in Cuba, where he began his training at the age of seven at Laura Alonso’s ballet school Pro-Danza, later joining the National Ballet School of Cuba and finishing at Miami City Ballet School under the tutelage of Nancy Raffa. At the age of 17, Permuy started his professional career with Miami City Ballet as an apprentice and he went on to enjoy a career of 18 years also dancing for American Ballet Theatre Studio Company, Joffrey Ballet, Ballet West, Smuin Contemporary Ballet, Cincinnati Ballet, and appearing as guest artist with a few others. During this time, his repertoire included most of the classics and a vast number of ballets from the Balanchine repertoire, ranging from corps to principal roles. He also had the opportunity to perform ballets from Gerald Arpino, Robert Joffrey, Jiří Kylián, Kurt Joss, John Cranko, Frederick Ashton, Kenneth MacMillan, Twyla Tharp, Helen Picket, Nicolo Fonte, Antony Tudor, Ulysses Dove, Michael Smuin, Val Caniparoli, Alberto Alonso, Benjamin Millepied, Leonide Massine, and Amy Seiwert. Throughout his career, Permuy feels blessed to have learned from figures like Nancy Raffa, Fernanado Bujones, Martha Bosh, Sir Anthony Dowell, Christopher Carr, Eddie Villella and Clinton Luckett. In 2021, he joined Cleveland Ballet as a director of repertoire, where he had the opportunity not only to perform ballet master duties but also was able to return to the stage as a character dancer, performing the roles of Don Quijote in the ballet by the same name and Drosselmeyer in The Nutcracker. This is Permuy’s fourth season with Atlanta Ballet.
CLAUDIA SCHREIER (Choreographer-in-Residence) has choreographed, directed, and produced for dance, opera, and film across the U.S. and internationally. She has created over 50 works for various companies and organizations, including San Francisco Ballet, Boston Ballet, Miami City Ballet, Dance Theatre of Harlem, Vail Dance Festival, Richmond Ballet, Guggenheim Works & Process, ABT Studio Company, Juilliard Opera, New York Choral Society, and New York Choreographic Institute. Her works for Atlanta Ballet include The Rite of Spring, Nighthawks, Carnivale, Fauna, Pleiades Dances, and First Impulse, named a 2019 Standout Performance by Pointe Magazine. Schreier and Atlanta Ballet partnered with the Cathedral Choir Society in 2022 to present Berlioz’s Roméo et Juliette at the Washington National Cathedral. In 2021, Schreier released Force of Habit, a film commissioned by Guggenheim Works & Process and co-presented by Atlanta Ballet. She has contributed to programs at the White House, Jazz at Lincoln Center, and the Kennedy Center, including the Kennedy Center Honors. Her work is the subject of two documentaries, most recently PBS’s Emmy Award-Winning “Dancing on the Shoulders of Giants” (Capital Region). Schreier presented her TEDx talk “Thinking On Your Feet,” at Columbia University in 2018. She is a recipient of the Princess Grace Award, Toulmin Fellowship at the Center for Ballet and the Arts at NYU, Lotos Prize, and Suzanne Farrell Dance Prize.
LARISSA DAL’SANTO Chapecó, Brazil
SEVERIN BROTSCHUL Glen Arbor, Michigan
CATHERINE CONLEY Chicago, Illinois
GEORGIE GRACE BUTLER Roswell, Georgia
BROOKE GILLIAM Boulder, Colorado
JESSICA HE Rancho Cucamonga, California
AIRI IGARASHI Gunma, Japan
DARIAN KANE Lincoln, California
MATOI KAWAMOTO Tokyo, Japan
JORDAN LEEPER Jamestown, New York
GUILHERME MACIEL São Paulo, Brazil
JULIANA MISSANO Lloyd Harbor, New York
MIGUEL ANGEL MONTOYA Cali, Colombia
KHULAN BURENJARGAL Ulaanbaatar, Mongolia
SANTIAGO BEDOYA Medellín, Colombia
GIANNA HORTON-SIBBLE Hornell, New York
SOJUNG LEE Chungju, South Korea
VALERIA CHAYKINA St. Petersburg, Russia
TALISSON FARIAS Resende, Rio de Janeiro, Brazil
MILEI LEE Melbourne, Australia
Łódź, Poland
SAYRON
Campinas, São Paulo, Brazil
Manila, Philippines
Halifax, Nova Scotia, Canada
ÁNGEL
Trinidad, Cuba
Araruama, Rio de Janeiro, Brazil
ULZIIJARGAL Ulaanbaatar, Mongolia
São Paulo, Brazil
Atlanta Ballet photos by Kim Kenney.
LUIZ FERNANDO XAVIER
MARIUS MORAWSKI
PEREIRA
REI YAMAGUCHI Hokkaido, Japan
DENYS NEDAK Odessa, Ukraine
CARRAIG NEW Juneau, Alaska
RAMÍREZ
MIKAELA SANTOS
ANDERSON SOUZA Santo Angelo, RS, Brazil
MAYU NAKAYAMA Tochigi, Japan
SOPHIE POULAIN
PAXTON SPEIGHT Poquoson, Virginia
EMANUEL TAVARES Fortaleza, Brazil
NICHOLAS YURKEVICH San Francisco, California
JÚLIO SANTOS
JONAS TUTAJ Chicago, Illinois
MUNKHJIN
14 creative team
GEORGE BALANCHINE (Choreographer, Emeralds and Prodigal Son), transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20th century, and he co-founded two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia, in 1904, studied at the Imperial Ballet School in St. Petersburg, and danced with the Mariinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924, Balanchine left the newly formed Soviet Union for Europe, where he was invited by impresario Serge Diaghilev to join the Ballets Russes. For that company, Balanchine choreographed his first important ballets: Apollo [1928] and Prodigal Son [1929]. After Ballets Russes was dissolved following Diaghilev’s death in 1929, Balanchine spent his next few years on a variety of projects in Europe and then formed his own company, Les Ballets 1933, in Paris. There, he met American arts connoisseur Lincoln Kirstein, who persuaded him to come to the United States. In 1934, the pair founded the School of American Ballet (SAB), which remains in operation to this day, training students for companies around the world. Balanchine’s first ballet in the U.S., Serenade, set to music by Tchaikovsky, was created for SAB students and premiered on June 9, 1934, on the grounds of an estate in White Plains. Balanchine and Kirstein founded several short-lived ballet companies before forming Ballet Society in 1946, which was renamed New York City Ballet in 1948. Balanchine served as the company’s ballet master from that year until his death in 1983, building it into one of the most important performing arts institutions in the world, and a cornerstone of the cultural life of New York City. He choreographed 425 works over the course of 60-plus years, and his musical choices ranged from Tchaikovsky [one of his favorite composers] to Stravinsky [his compatriot and friend] to Gershwin [who embodied the choreographer’s love of America]. Many of Balanchine’s works are considered masterpieces and are performed by ballet companies all over the world. Courtesy of New York City Ballet. Balanchine is a trademark of the George Balanchine Trust
DIANA WHITE (Repetiteur, Emeralds), former soloist of New York City Ballet (NYCB) is a répétiteur, master teacher, and coach for the George Balanchine Trust and the Jerome Robbins Rights Trust. Born in Park Ridge, Illinois, she began ballet lessons at age four. When she was ten, she made her professional debut with NYCB as a bug in A Midsummer Night’s Dream when the company was touring in Chicago in 1970. That experience set her on a lifetime course of studying, performing, staging, and coaching Balanchine and Robbins works. At 14, she joined the Lyric Opera of Chicago Ballet under the direction of legendary Native American ballerina, Maria Tallchief. There, White was seen by Balanchine himself. He offered her a scholarship to the School of American Ballet and invited her to join the NYCB the following year. During her twenty-year performing career, she worked closely with Balanchine, Robbins, and Peter Martins. She danced corps de ballet, soloist, and principal roles in over 75 ballets by all three masters and had many roles created on her. She was mentored and coached by the ballerinas, Suzanne Farrell, Violette Verdy, Sara Leland, and Karin Von Aroldingen, all of whom were in the original cast of Balanchine’s three-act masterpiece, Jewels. Several years before retiring from the stage, at the encouragement of Farrell, White began to teach and coach. The process of sharing her experience sparked her passion to work with dancers around the world. Since 2004, as a repetiteur, she has staged ballets on major professional companies and conservatories on six continents.
George Balanchine
Photo by Tanaquil Le Clercq
Diana White
Photo by Kyle Froman
JUSTIN PECK (Choreographer and Costume Designer, In Creases) is a three-time Tony Award winning director, choreographer, filmmaker, and dancer based in New York City. He is the Resident Choreographer of the New York City Ballet, and only the second person in the institution’s 75year history to hold this title. He has developed and created over 50 stage and theater works that have been presented on stages around the world, including Lincoln Center, the Palais Garnier, Sydney Opera House, Brooklyn Academy of Music, and Broadway. His creations for the dance world have been performed by companies all over the world, including the Paris Opera Ballet, Australian Ballet, Dresden Semperoper Ballet, Hong Kong Ballet, Boston Ballet, Juilliard, National Ballet of Canada, Miami City Ballet, Pacific Northwest Ballet, LA Dance Project, Dutch National Ballet, the School of American Ballet, Joffrey Ballet, and Houston Ballet among many others. Peck works extensively as a filmmaker. He is credited with directing music videos for The National, Chris Thile, and Dan Deacon; choreographing the 2021 film West Side Story in collaboration with director Steven Spielberg; choreographing the 2023 film Maestro in collaboration with director/writer/ actor Bradley Cooper; and being commissioned by The New York Times to direct ten films celebrating the best acting performances of the 2018 year, which included performances by Julia Roberts, Ethan Hawke, Lakeith Stanfield, Glenn Close, Emma Stone, and Toni Collette. Peck celebrates the art of collaboration and is honored to have worked across mediums with a wide array of luminaries, including Sufjan Stevens, Raf Simons, Elizabeth Moss, Steven Spielberg, Caroline Shaw, Jeffrey Gibson, Renee Fleming, Shepard Fairey, Sofia Coppola, Stephen Sondheim, Shantelle Martin, Mikhail Baryshnikov, Humberto Leon, Bradley Cooper, Nico Muhly, Jackie Sibblies Drury, John Baldessari, Dries Van Noten, Damien Chazelle, Jack O’Brien, Anthony Roth Costanzo, Marcel Dzama, Chris Thile, and Jody Lee Lipes. Peck danced with New York City Ballet from 2006-2019, eventually achieving the rank of soloist in 2013. He has performed a vast repertoire of works by George Balanchine, Jerome Robbins, Twyla Tharp, Alexei Ratmansky, Lynn Taylor-Corbett, Christopher Wheeldon, and many others. Peck is a three-time Tony Award recipient for Best Choreography for the Broadway productions of Carousel (2018), Illinoise (2024) and Buena Vista Social Club (2025); as well as a recipient of the National Arts Award (2018), the Golden Plate Honor from the Academy of Achievement (2019), the Bessie Award for Outstanding Production for Rodeo: Four Dance Episodes (2015), the World Choreography Award for the film West Side Story (2022), and the Lucille Lortel Award for Outstanding Choreography for the new musical Buena Vista Social Club (2024).
Justin Peck
Photo by Ryan Pfluger
MARC HAPPEL (Costume Designer, In Creases) is the Director of Costumes at New York City Ballet (NYCB). Since 2006 Happel has overseen the costumes for NYCB’s entire repertory, including all 12 Fall Fashion Galas. His costume designs for NYCB include George Balanchine’s Symphony in C and Tschaikovsky Piano Concerto No. 2, as well as ballets by Nicolas Blanc, Mauro Bigonzetti, Kim Brandstrup, Jean-Pierre Frohlich, JR, Benjamin Millepied, Peter Martins, Justin Peck, Alexei Ratmansky, Gianna Reisen, and Peter Walker. Prior to working at NYCB, Happel worked with the Metropolitan Opera Costume Department and with Barbara Matera Ltd. Other design credits from his career include Kitty Killer, Charlie (Theatre Couture), Tell-Tale (PS122/Cherry Lane Theatre), Seeing Things (29th Street Theatre), Rufus Wainwright (Tour), and for Kiki & Herb, Coup de Theatre (Cherry Lane Theatre), Kiki & Herb Alive on Broadway (Helen Hayes Theatre); Stop, Drop, and Roll; Do You Hear What We Hear; and Kiki and Herb Will Die for You (Carnegie Hall). Happel also worked closely with actor Daniel Day-Lewis as an advisor for the 2017 Paul Thomas Anderson film The Phantom Thread. Along with his husband, Harvey Weiss and the Visual AIDS Artist Caucus, he was instrumental in conceiving the iconic design of the red AIDS ribbon.
MARK STANLEY (Lighting Designer, In Creases) is Resident Lighting Designer for New York City Ballet, and has designed over 225 premieres for their repertoire. He has worked with choreographers around the world including Alexei Ratmansky, Susan Stroman, Christopher Wheeldon, Justin Peck, William Forsythe, and many others. His designs are in the repertoire of nearly every major ballet company in North America and Europe. Stanley has also worked extensively in opera, previously serving as Resident Designer for New York City Opera. His opera and ballet designs have been seen nationally on Great Performances and Live from Lincoln Center. His work in theatre includes Off-Broadway, the Kennedy Center, Paper Mill Playhouse, The Goodspeed, and others. Stanley is co-founder of the Studio School of Design, heads the Lighting Design Program at Boston University’s School of Theatre, and is on the Board of Directors of the Hemsley Lighting Programs. markstanleylightingdesign.com
HYUNJUNG RACHEL CHUNG (Pianist, In Creases) is a pianist celebrated for her multifaceted career as a performer, educator, adjudicator, recording artist, and composer. A first-prize winner of the Ernest Bacon Award from the 2020 American Prize, she made her New York solo debut at Carnegie Hall’s Weill Recital Hall in 1996 as a winner of the Artist International Audition. Since then, she has performed extensively in solo and collaborative settings across the U.S. and internationally. Dr. Chung has appeared as a performer, presenter, and master teacher at numerous festivals and conferences, including the National Conference on Keyboard Pedagogy, MTNA National Conference, World Piano Teachers Association, College Music Society International Conference, and several European festivals such as San Giacomo, Grumo, and Forty Fingers in Italy. A champion of contemporary music and underrepresented voices, she has released award-winning albums on the Studio Jeeb label, including My Cherished Garden (2017) and Three Piano Sonatas by Women Composers (2018). Her 2022 album, Burleigh, Coleridge-Taylor & Dett: Piano Suites, received a Gold Star at the Music & Stars Awards. She also completed a modern engraving of Joseph Bologne’s Piano Sonata and Rondo in C Major, now available on IMSLP. Additionally, Dr. Chung is active in interdisciplinary work, most recently creating Three Korean Sketches on Saeya Saeya Parang Saeya for a visual art exhibition in Seoul, Korea. She is Professor of Music and Chair of the Department of Music at Spelman College, where she directs the Spelman Chamber Players. A two-time Steinway Top Teacher Award recipient, she earned degrees from Seoul National University, Mannes College, and Rutgers University.
Hyunjung Rachel Chung
WESTERN-LI SUMMERTON (Pianist, In Creases) joined Atlanta Ballet in 2022 as Company Pianist, where he debuted with the company in Claudia Schreier’s Pleiades Dances, playing with the “fluid dynamism that paired well with Schreier’s richly varied stream of ideas” (Arts ATL). Later that year, he was featured in Arts Atlanta’s “Six Atlanta Artists to Watch” for his musical role at Atlanta Ballet. Since then, he has been a frequent soloist and collaborator with both Atlanta Ballet dancers and the Atlanta Ballet Orchestra, performing in works such as Justin Peck’s In Creases, Cathy Marston’s Snowblind, Ben Stevenson’s Three Preludes, and Sergio Masero’s Querencia. Most recently, Summerton performed 7 movements of Bach Keyboard Concertos with the Atlanta Ballet Orchestra for Helgi Tomasson’s 7 for Eight. He has also served as both Orchestra Personnel Manager and Music Librarian for the Atlanta Ballet Orchestra. Summerton has extensive experience in collaboration between music and dance, having played for numerous ballet companies across the United States and Europe. Originally from Bellingham Washington, he received his Bachelor of Music in Piano Performance with a minor in business from Portland State University. Summerton has since studied with renowned pianists throughout the Pacific Northwest including Judith Widrig, Ralph Markham, Kenneth Broadway, Anita King, Jean-David Coen, and Hwakyu Lee; as well as compositional studies with Renee Favand-See and Kenji Bunch.
PAUL BOOS (Repetiteur, Prodigal Son) was born in Sioux Falls, South Dakota, and relocated to New York at age 15 to study dance on full scholarship first at the Harkness House, then at the American Ballet Theatre School, and finally the School of American Ballet (SAB). It was at SAB, while working extensively with both George Balanchine and Jerome Robbins that Boos danced principal roles in Balanchine’s Symphony in C and Robbins’ Dances at a Gathering as part of the SAB workshop. He was asked to join New York City Ballet (NYCB) at the age of 18. Boos went on to dance with NYCB for 13 years before launching into the international scene as a guest teacher, initially with the Royal Danish Ballet where he taught for three years. In 1992, Boos was entrusted by the George Balanchine Trust to become a sanctioned repetiteur. Since then, he has gone on to stage ballets all over the world with such companies as the Paris Opera, Bolshoi, Maryinsky, La Scala, the Joffrey, and others. In 2016, Boos began as project associate with The George Balanchine Foundation Video Archives, which consists of two collections: the Archive of Lost Choreography and the Interpreters Archive. In 2021 he was named Director of the George Balanchine Video Archives. Rye Ballet Conservatory, New York, appointed Boos its Head of Pre-Professional Division in 2019.
BEN RAWSON (Associate Lighting Designer, Emeralds, In Creases, and Prodigal Son) is an Atlanta-based Lighting Designer for Theatre, Opera, and Dance, member USA 829. Theatrical/Opera design work can be seen at The Alliance Theatre (GA), Detroit Opera (MI), Florida Studio Theatre (FL), Glimmerglass Opera (NY), Utah Opera (UT), Atlanta Opera (GA), Theatrical Outfit (GA), Center Rep (CA), Aurora Theatre (GA), Actors Express (GA), and others. Dance design work includes choreographers Ana Maria Lucaciu, Troy Schumacher, Claudia Schreier, Remi Wörtmeyer, Bruce Wells, Danielle Agami, and Omar Roman De Jesus, as well as with Atlanta Ballet (GA), BalletCollective (NY), Terminus Modern Ballet Theatre (GA), Fly On A Wall (GA), and others. Rawson has also worked across the country as an Associate & Assistant Lighting Designer for San Diego Opera (CA), The Alliance Theatre (GA), Berkshire Theatre Festival (MA), Atlanta Opera (GA), Utah Opera (UT), Glimmerglass Festival (NY), Playmakers Repertory Company (NC), and Atlanta Ballet (GA). benrawsondesign.com
For the full creative team behind this production, visit atlantaballet.com/ performances/balanchine-and-peck
Francesca Frederick, Director of Advancement, Institutional Gifts
Kimberly Jackson, Project Accountant/AP Manager
Natasha Harris, Director of Human Resources
MARKETING & PUBLIC RELATIONS
Tricia Ekholm, Chief Marketing O cer
Dana Hylton Calabro, Director of Technology and Sales Operations
Allison Kang, Director of Public Relations
Taylor Graves, Interim Graphic Designer
PATRON SERVICES
Brian Wallenberg, Video Content Producer
Megan Pearson, Patron Services Manager
Stephen Hall, Patron Services Associate
Myredith Momongan, Associate Director of Group Sales
Sophia Doctoroff, Patron Services Associate
Kate Biddle, Group Sales Manager
Toni C. Vacinek, Associate Director of Marketing Communications
ADVANCEMENT
Zoey Fleck, Social Media Manager/Graphic Designer
Brandon Brown, Senior Director of Individual Giving
PATRON SERVICES
Kelly Criss, Senior Director of Institutional Giving
Lindsay Smith, Associate Director of Patron Services
Ansleigh Brown, Individual Giving Manager
Kathryn Gutierrez, Special Events Manager
Desiree Houston, Patron Services Manager
Jasmine Atkins, Special Events Coordinator
Mallory Hazen , Patron Services Assistant
Jasmine Martinez , Patron Services Assistant
MARKETING & PUBLIC RELATIONS
Josh Reynolds , Patron Services Assistant
Tricia Ekholm, Chief Marketing Officer
PRODUCTION
Fiona Shaw, Marketing and Communications Director
Dave Smith, Production Manager & Technical Director
Alane Marco, Design Director
Tumi Akin-Deko, Communications Coordinator
Sicily Palms, Company Manager
Nicole Walters, Production Stage Manager
Henry Woods, Manager of Marketing Strategy and Data Analysis
Jane Kuipers, Assistant Stage Manager
Amber Times, Social Media Manager
Kristin Kelley , Assistant Stage Manager
PRODUCTION
COSTUMES
Colleen McGonegle, Costume Director
Nicole Walters, Director of Production
Abby Polston, Draper
Jonathan Fries, Technical Director
Jai Auzenne, Production Stage Manager
Susan Carter, Costume Construction Supervisor
Abby Parker, Company Shoe Manager/Wardrobe Supervisor/Costume Technician
Chloe Gervais, Costume Technician
Maddie Simmons, Costume Technician
Ashleigh Dobrin, Finisher
Nicole Adams, Virginia-Highland Centre Principal
Ansilla Bearden, Satellite Manager
Diane Caroll, Community Partnerships Director
Brittney Flowers, Centre Education Associate
Kelly Tonina Cooper, Centre Administrative Director
Faculty
Ansilla Bearden, Buckhead Centre Manager & Summer Programs Manager
Nicole Adams, Alice Balhatchet, Ansilla Bearden, Shirley Bennett, Haley Brink, Darby Burgess, Serena Chu, Harmony Clair, Kelly Tonina Cooper, Kameron Davis, Nardja el-Shabazz, Kate Gaul, Ashley Gibson, Nell
Ashley Suta, Virginia-Highland Centre Manager
Amelia Murren, Adult Dance Coordinator
Evan Rozier, Front Desk Manager
Faculty
Heflin Goza, Jennifer Inman, LaToya Princess Jackson, Aaron James, Malik Jenkins, Caroline Kraehe, Sergio Masero, Loren McFalls, Arneshuia Nelson, Anna Penny, Chantia Robinson, Diane Caroll Sales, Roscoe Sales, Erin Smith, Jasmine Stevenson, Abigail Tan-Gamino, Grace Thompson, Jennifer Van Meter, Calla Vaughn, Natalya Vyashenko, Martine Weber
Marlena Abaza, Shirley Bennett, Georgie Grace Butler, Diane Carroll, Serena Chu, Kelly Tonina Cooper, Kameron Davis, Mia Givens, Jennifer Inman, Madelin Jamison, Courtney Johnson, Calla Kallina, Matoi Kawamoto
Accompanists
Elizabeth Grimes, Aleksandra Korshunova, Yulia Rice, Gretel Rodriguez, Kyla Zollitsch
Stephany Kuzmuski, Amelia Murren, Han Myers, Arneshuia Nelson, Abi Pace, Anna Penny, Andrea Pell, Chantia Robinson, Lay’la Rogers, Roscoe Sales, Ericka Shannon, Anderson Souza, Caitlin Spencer, Jasmine Stevenson, Ashley Suta, Abi Tan-Gamino Emanuel Tavares, Natalya Vyashenko, Kirill Zaretskiy
Centre Education Associates
Accompanists
Avery Jarrard, Stephanie Kosarin, Yulia Rice, Kyla Zollitsch
Imani Austin-Edwards, Shannon Geary, Flora Mangio, Hui-Wen Peng, Kaitlin Roemer, Jada Russell, Samantha Schuermann, Emma Seif
Centre Education Associates
Atlanta Ballet Boutique
Leslie Campbell Judge, General Manager
Imani Banks, Sidney Hall, Emily McAllister, Rania Mirza, Evan Rozier
Nardja el-Shabazz, Asst. General Manager, Atlanta Ballet Boutique
Atlanta Ballet Boutique
Louise Gordon, Retail Operations Manager
Alina Chaudhri, Boutique Coordinator
Mia Givens, Boutique Merchandise Coordinator
theaterinformation
Concessions: Concession stands are located in the center of the lobbies. All sales are cashless - credit or debit card only.
Emergency Information: In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.
Elevators: Elevators are located on each side of the lobbies on all levels.
Lost and found: Items are turned into Public Safety on the day of a performance. To inquire about a lost item, please call Public Safety at 770.916.2911.
Parking: Day of parking is available for $20 (credit or debit card only). There are 1,000 on-site parking spaces; 700 in a four-level deck and 300 more in a surface lot.
Restrooms: Located on house right and house left of all three lobbies. Family restrooms are located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.
Smoking: Smoking, vaping and e-cigarettes are prohibited inside the building.
Special assistance: Persons requiring access assistance are asked to contact the Ticketmaster at 800-982-2787 for advance arrangements. Audio clarification devices are available to our hearing-impaired guests at no charge. This is on a first-come, first-served basis. These are available at the Synovus Box Office. Wheelchairs are available upon request. All items require a form of identification to be held until the item is returned.
Prohibited items: The venue does not check items. Please visit https://www. cobbenergycentre.com/plan-your-visit/ prohibited-itemssecurity for more information.
ATLANTA BALLET REQUESTS
All patrons, regardless of age, must have a ticket to be admitted to the performance. Please be aware that not all events are suitable for children. Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.
Please turn off all cellphones before each performance.
Audio & video recording devices are not permitted.
Please unwrap all candies and cough drops before the perfomance.
Late arrivals will be seated in alternative seating until intermission when you can then access your seats.
We recommend arriving at least 45 minutes early so you have time to visit concessions and get to the seats you purchased. Doors to Cobb Energy Centre open 90 minutes prior to the performance.
