Atlanta Ballet, The Nutcracker 2025

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ATLANTA BALLET

The Carlos Family in honor of Thalia N. Carlos Presents

December 6–27, 2025

encoreatlanta.com

T H E N U TC R AC K E R D E C E M B E R 2 0 2 5

Atlanta Ballet Dancers. Photo by Kim Kenney.

C O N T E N T S Atlanta Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Artistic Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Nutcracker Children’s Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Atlanta Ballet Orchesta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Supporters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Administration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

On the cover: Character Illustration of Young Marie by John Holder.

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December 6-27, 2025 Cobb Energy Performing Arts Centre

With the Atlanta Ballet Orchestra Conducted by Ari Pelto, Tamara Dworetz Music by Pyotr IIyich Tchaikovsky Choreography by Yuri Possokhov Scenic Design by Tom Pye Costume Design by Sandra Woodall Lighting Design by David Finn Video Design by Finn Ross Props and Set Decoration by Faye Armon-Troncoso

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atlanta ballet COMPANY BALLET REPETITEURS

Angela Agresti, Rory Hohenstein, Eduardo Permuy

CHOREOGRAPHER-IN-RESIDENCE Claudia Schreier

DEAN OF THE CENTRE FOR DANCE EDUCATION Sharon Story

CHILDREN’S CAST REHEARSAL ASSISTANTS

Marlena Abaza, Serena Chu, Courtney Johnson, Cary Jones

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, Rachel Olivia Zinman

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, Kahlen Wright 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

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synopsis

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Atlanta Ballet dancers and Atlanta Ballet Centre for Dance Education students. Photo by Kim Kenney.

This staging of The Nutcracker ballet takes place in a charming German city on Christmas Eve and incorporates elements from E.T.A. Hoffmann’s 1816 story “The Nutcracker and the Mouse King,” set to the iconic Tchaikovsky score. This two-act ballet, a classic holiday story, uses elaborately crafted scenery combined with advanced techniques in lighting and video projection to enhance the story’s magic.

ACT I It is Christmas Eve, and family and friends gather for holiday festivities at the Stahlbaum house. Guests arrive by sleds and skis and frolic outside. Young Marie Stahlbaum, a shy bookworm, welcomes the arrival of the guests, including her mysterious godfather Drosselmeier, a clock worker who, with his magical abilities, makes Christmas presents for his nieces and nephews every year. This year, he brings a peculiar gift to Marie — a Nutcracker Doll.

It is nearly midnight; the party has ended and the guests have said their goodbyes. Marie returns to the cabinet to check on her new

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Nutcracker Doll and suddenly finds herself surrounded by a horde of menacing mice. Magically, her beloved Nutcracker jumps to the rescue as she watches her dolls come to life and everything around her grows in size.

After an exhausting, yet unfinished battle, Drosselmeier reveals to Marie that the Nutcracker is a prince. Charmed with each other, they dance through a wonderland of snow before embarking on a magical journey.

ACT 2 Drosselmeier enters in grand fashion and introduces a world of books, thousands flying in the air when he selects one particularly interesting book. It happens to be the very same book Marie used to fight off the mice and where the Mouse King hid after the battle.

The Nutcracker Prince and Marie float back in together and dance among the flowers. Drosselmeier recalls the book, which has grown tremendously, and the Mouse King and his army appear.

Drosselmeier arms the Nutcracker Prince for a battle, and the Nutcracker Prince defeats the Mouse King with his sword.

Drosselmeier invites Marie and the Nutcracker Prince back into his mysterious world, taking them on a journey through the pages of a storybook to fantastical places where they meet characters from different countries around the world. Remarkably, they witness bullfights, snake charmers, and the most amazing flower garden dancing in the wind.

On their way back after spending enchanted time together, the Nutcracker Prince wants Marie to stay with him. Drosselmeier separates them, holding onto Marie as the Nutcracker Prince departs.

Marie finds herself dreaming and wakes up. She realizes that everything must come to an end and she is delighted by memories of a wonderful world filled with beautiful music, travel and adventure, evoking the timeless and magical spirit of the holidays that she will fondly remember for years to come.

14 | leadership

leadership

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GENNADI NEDVIGIN (Artistic Director), in February 2016, named GENNADI NEDVIGIN (Artistic Director), in February February 2016, waswas named GENNADI NEDVIGIN (Artistic Director), in 2016, was named Atlanta Ballet’s fourth artistic director in Company’s the Company’s 87-year Atlanta Ballet’s fourth artistic director in the the Company’s thenthen 87-year Atlanta Ballet’s fourth artistic director in then 87-year history.

Nedvigin, born in Rostov, Russia, began his training at 5. age history.

Nedvigin, born in Rostov, Rostov, Russia, began his training training at age age 5.

At5.

10,At history.

Nedvigin, born in Russia, began his at At 10, 10, was accepted into the Bolshoi Ballet Academy.

Upon graduating, he was washe accepted into the the Bolshoi Ballet Academy.

Academy.

Upon graduating, graduating, he he accepted into Bolshoi Ballet Upon he he joined Moscow Renaissance Ballet as a soloist was invited joined Moscow Renaissance Ballet, as as soloist, beforebefore he was washe invited to joined Moscow Renaissance Ballet, aa soloist, before he invited to to dance with Le Jeune Ballet de France inIn Paris.

1997,on while tour dance with Le Le Jeune Ballet de de France France in Paris.

Paris.

In 1997,In while on touron in the the dance with Jeune Ballet in 1997, while tour in inSan the Francisco U.S., San Francisco Ballet (SFB) Artistic Director Helgi offered Tomasson U.S., San Francisco Ballet (SFB) (SFB) Artistic Director Helgi Tomasson offered U.S., Ballet Artistic Director Helgi Tomasson offered a soloist contract.

After three years, he was Nedvigin soloist contract. contract.

After three years, years, he was was promoted topromoted principal to Nedvigin aa Nedvigin soloist After three he promoted to principal principal dancer.

19 seasons atInternational SFB, Nedvigin won the International dancer.

While at SFB, SFB,While Nedvigin won the the International Competition’s Erik dancer.

While at Nedvigin won Competition’s Erik Competition’s Erik Prize (1999).

He has also Duncan receivedDance three Isadora Bruhn Prize (1999).

(1999).

HeBruhn has also also received three Isadora Duncan Dance Bruhn Prize He has received three Isadora Duncan Dance Awards (2001, 2010 and 2017).

Alongwas thefortunate way, Nedvigin was Awards (2001, 2010 and 2017).

2017).

Along the way, Nedvigin was fortunate to Awards (2001, 2010 and Along the way, Nedvigin to fortunate to work with many world-renowned addition work with many many world-renowned choreographers. choreographers.

In addition addition to to his his In dancing work with world-renowned choreographers.

In dancing to his dancingalso career, Nedvigin taught and staged career, Nedvigin also taught masteralso classes andmaster stagedclasses ballets in in the U.S. career, Nedvigin taught master classes and staged ballets the U.S. andballets abroad before becoming an artistic artistic director.

Recently, Nedvigin sat Recently, on inbefore the U.S. and abroad beforedirector. becoming an artistic director. and abroad becoming an Recently, Nedvigin sat on juried panelssat at the the World panels Ballet Competition Competition inBallet Orlando, the International International juried panels at Ballet Orlando, the Nedvigin on World juried at the Worldin Competition in Orlando, Ballet Competition held in Jackson, Jackson, Mississippi, and the Youth Youth America Ballet in Mississippi, the America theCompetition Internationalheld Ballet Competition held in and Jackson, Mississippi, the Japan Grand Prix.

Under Nedvigin’s guidance, Atlanta Ballet has Nedvigin’s establishedguidance, the Grand Prix.

Under Atlanta Ballet has established the Grand Prix andNedvigin’s the Youth guidance, America Grand Prix.

Under Academy training program, whichthe includes top-tier performance Academy program, which includes aa top-tier performance Atlantatraining Ballet has established Academy training program, which ensemble, Atlanta Ballet 2, representing representing his commitment commitment to training training for the the ensemble, Ballet 2, his to for includesAtlanta a top-tier performance ensemble, Atlanta Ballet 2, representing his next generation of of professional dancers. next generation commitment toprofessional training fordancers. the next generation of professional dancers. assumed hishis rolerole as Atlanta Atlanta Ballet’s TOM WEST (Executive Director) TOM WEST (Executive Director) assumed his role as Ballet’s TOM WEST (Executive Director) assumed as Atlanta Ballet’s Executive Director at the the top of of the 2021 2021 2022 Season.

West’s career career in more Executive Director at top the || 2022 Season.

West’s in Executive Director in 2021.

West’s career in arts management spans artsthan management spans for for leadership more than than 20 20 years years including leadership roles for arts management spans more including roles 25 years, including roles at the John F.leadership Kennedy Center at the the John F. Kennedy Kennedy Center for the the Performing Performing Arts, the Segerstrom at F. for Arts, Segerstrom the John Performing Arts,Center the Segerstrom Center for thethe Arts and American Film Center for the the Arts and American Film Institute.

An actor actor andreceived theatre a Master Center for and American Institute.

An and theatre Institute.

AnArts actor and theatre Film director by training, West director byintraining, training, West received received Master of Arts Arts in arts arts administration administration director by West aa Master of in of Arts arts management from American University and began his career from American University and began his hisCenter career in in arts arts management management at to theserve from University career at the in American arts management atand the began Kennedy in 1997, where he rose Kennedy Center in 1997, 1997, where he he rose roseoverseeing to the the serve serveall asfundraising Vice President President of Kennedy in where to as Vice of as ViceCenter President of Development, programs Development, overseeing all fundraising fundraising programs for the the National National Development, overseeing all for for the National Symphony Orchestraprograms and the Suzanne Farrell Ballet, and Symphony Orchestra and to thefund Suzanne Farrellof Ballet, and leading leading the effort In Symphony Orchestra and the Suzanne Farrell Ballet, and effort leading Farrell’s effort a remount Balanchine’s Donthe Quixote. to fund fund remount of Balanchine’s Balanchine’s Don Quixote.

Quixote.

In 2007, 2007, West West served as to remount of Don In served as 2007,aaWest served as Vice President of Development for the Segerstrom Vice President of Development Development for theCalifornia.

Segerstrom Center for the the Arts Arts inserved Vice President of the Segerstrom Center for in Center for the Arts in Costa for Mesa, From 2010-2021, West Costa Mesa, California.

From 2010-2021, 2010-2021, West served as as the the Chief AdvanceCosta Mesa, California.

From served Advanceas the Chief Advancement Officer forWest the American FilmChief Institute (AFI) in ment Officer for the the American American Film Institute Institute in Los Los Angeles, Angeles, where he ment for Film in he LosOfficer Angeles, where he championed the development ofwhere new programs to championed the development development of new new programs programs to provide provide bridges bridges to the the in championed the to to provide bridges to the film of industry for under-represented storytellers filmHollywood. industry for for under-represented storytellers in Hollywood.

West also film industry under-represented storytellers in Hollywood.

West also West established the AFI National Council in 2011, a community served on on AFI’s AFI’s senior senior leadership leadership team, shaping shaping organizational organizational strategy strategy for for served of philanthropists from acrossteam, the United States who serve as champions the Institute’s Institute’s filmmaker filmmaker training training programs programs and and working working with with major major studios studios the for excellence in the art of film and opportunities for the next generation developing on on targeted targeted diversity diversity initiatives, initiatives, as as well well as as its its strategy strategy for for developing of great storytellers. Since joining Atlanta Ballet in 2021, West’s focus has weathering the the COVID-19 COVID-19 pandemic. pandemic. West West established established the the AFI AFI National National weathering been on Atlanta Ballet’s long-term financial health and prestige, expanding Council in in 2011, 2011, aa community community of of philanthropists philanthropists from from across across the the United United Council engagement in the greater Atlanta region and breaking down historic States who who serve serve as as champions champions for for excellence excellence in in the the art art of of film film and and States barriers to full participation in the artform of Ballet for all. opportunities for for the the next next generation generation of of great great storytellers. storytellers. opportunities

SHARON STORY (Dean of the Centre Dance Education) joined SHARON STORY (Dean of the the Centre forfor Dance Education) joined SHARON STORY (Dean of Centre for Dance Education) joined Atlanta Ballet after a professional dance career spanned than Atlanta Ballet after professional dance career that that spanned moremore than 20 20 Atlanta Ballet after aa professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American years and and included included tenures tenures with with Joffrey Joffrey Ballet, Ballet, the the School School of of American American Ballet, Ballet, years Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Stars of of New New York York City City Ballet, Ballet, Atlanta Atlanta Ballet Ballet and and 10 10 years years with with Boston Boston Ballet.

Ballet.

Stars Ballet. Her Boston Ballet tenure included international tours with Rudolf Her Boston Boston Ballet Ballet tenure tenure included included international international tours tours with with Rudolf Rudolf Nureyev.

Nureyev. In In Her Nureyev. In 1996, along with her role as ballet mistress, Story became dean 1996, along along with with her her role role as as ballet ballet mistress, mistress, Story Story became became dean dean of of Atlanta Atlanta Ballet Ballet 1996, of Atlanta Ballet Centre for Dance Education (Centre), which has grown to Centre for Dance Dance Education (Centre), which has has grown to become become one of of the Centre for (Centre), which to one become one ofEducation the largest dance schools in grown the nation.

The Centre isthe largest dance recognized schools in in the the nation.

The Centre Centre is nationally recognized recognized for its its largest dance schools The nationally for nationally fornation. its programs and is community initiatives. Under programs and community initiatives.

Under Story’s Story’s direction,with the Centre Centre achieved programs community initiatives.

Under direction, the achieved Story’sand direction, the Centre achieved accreditation the National accreditation with the National National Association of She Schools of Dance Dance (NASD).

She accreditation with the Association of Schools of Association of Schools of Dance (NASD). serves on the(NASD). board ofShe serves on the thefor board of directors directors for NASD. In 2021, 2021,Atlanta Story received received Atlanta Ballet’s serves on board of NASD. In Story Ballet’s directors NASD. In 2021,for Story received Ballet’sAtlanta Dorothy Dorothy Alexander Award.

She received received the 2015 Women Making a Mark Mark Award Dorothy Alexander Award.

2015 Women Making Award Alexander Award.

She She received thethe 2015 Women Making aa Mark Award from Atlanta Magazine andand waswas featured in the the Arts ATL Legacy Legacy Series 2018. from Atlanta Magazine and was featured in ATL Series 2018. from Atlanta Magazine featured in Arts the Arts ATL Legacy Series Story is committed committed to providing providing noncompetitive atmosphere and access accessand to Story is to aa noncompetitive atmosphere and to 2018.

Story is committed to providing a noncompetitive atmosphere access to dance is community’s shaped by the community’s needs, dance education thateducation is shaped shaped that by the the community’s needs, is innovative innovative and dance education that is by needs, is and is innovative and inspires the commitment and excellence are Ballet. the inspires the commitment commitment and excellence excellence that are are the the trademarks ofthat Atlanta Ballet. inspires the and that trademarks of Atlanta trademarks of Atlanta Ballet. atlantaballet.com || @ @atlantaballet atlantaballet atlantaballet.com

14 artistic staff 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), 7 for Eight (Helgi Tomasson), and Prodigal Son (George Balanchine), 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, Liam Scarlett, and Justin Peck. He has been a Company Repetiteur with Atlanta Ballet since 2019.

artistic staff

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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.

18 the company

SANTIAGO BEDOYA Medellín, Colombia

SEVERIN BROTSCHUL Glen Arbor, Michigan

KHULAN BURENJARGAL Ulaanbaatar, Mongolia

GEORGIE GRACE BUTLER Roswell, Georgia

VALERIA CHAYKINA St. Petersburg, Russia

CATHERINE CONLEY Chicago, Illinois

LARISSA DAL’SANTO Chapecó, Brazil

TALISSON FARIAS Resende, Rio de Janeiro, Brazil

BROOKE GILLIAM Boulder, Colorado

JESSICA HE Rancho Cucamonga, California

GIANNA HORTON-SIBBLE Hornell, New York

AIRI IGARASHI Gunma, Japan

DARIAN KANE Lincoln, California

MATOI KAWAMOTO Tokyo, Japan

MILEI LEE Melbourne, Australia

SOJUNG LEE Chungju, South Korea

JORDAN LEEPER Jamestown, New York

GUILHERME MACIEL São Paulo, Brazil

JULIANA MISSANO Lloyd Harbor, New York

MIGUEL ANGEL MONTOYA Cali, Colombia

Visit atlantaballet.com/about/dancers/company to learn more about the Company.

the company

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MARIUS MORAWSKI Łódź, Poland

MAYU NAKAYAMA Tochigi, Japan

DENYS NEDAK Odessa, Ukraine

CARRAIG NEW Juneau, Alaska

SAYRON PEREIRA Campinas, São Paulo, Brazil

SOPHIE POULAIN Halifax, Nova Scotia, Canada

ÁNGEL RAMÍREZ Trinidad, Cuba

JÚLIO SANTOS Araruama, Rio de Janeiro, Brazil

MIKAELA SANTOS Manila, Philippines

ANDERSON SOUZA Santo Angelo, RS, Brazil

PAXTON SPEIGHT Poquoson, Virginia

EMANUEL TAVARES Fortaleza, Brazil

JONAS TUTAJ Chicago, Illinois

MUNKHJIN ULZIIJARGAL Ulaanbaatar, Mongolia

LUIZ FERNANDO XAVIER São Paulo, Brazil

REI YAMAGUCHI Hokkaido, Japan

NICHOLAS YURKEVICH San Francisco, California

RACHEL OLIVIA ZINMAN Montreal, Quebec, Cananda

Atlanta Ballet dancer portraits courtesy of Kim Kenney.

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creative team YURI POSSOKHOV (Choreographer) danced for 10 years with the Bolshoi Ballet, performing leading roles in the company’s classical and contemporary repertoire. While performing, Possokhov studied choreography and ballet pedagogy at the State College of Theatrical Arts.

He was a principal dancer with the Royal Danish Ballet for two years before joining the San Francisco Ballet (SFB) as a principal dancer in 1994. During his 12 years dancing with SFB, he began choreographing. Upon retirement from dancing, he joined SFB’s artistic staff as choreographer-in-residence.

He has choreographed over 15 ballets for SFB and continues to create new works for the company. Possokhov also choreographs for companies worldwide. For the Bolshoi Ballet in 2015 and 2017—A Hero of Our Time and Nureyev—full length ballets that received the prestigious Benois de la Danse Award, established by the International Dance Union. Anna Karenina, premiered in 2019 as a co-production of Chicago’s Joffrey Ballet and the Australian Ballet. His most recent full-length ballet, The Seagull, premiered with the Bolshoi Ballet in the summer of 2021. He is a frequent guest choreographer with Atlanta Ballet. His most recent productions for the company were The Nutcracker in 2018, and Classical Symphony and Don Quixote in 2023. Possokhov will be creating a new world premiere for Atlanta Ballet as part of the Golden Hour program in April 2026. Learn more at yuripossokhov.com TOM PYE (Scenic Designer) has worked with a diverse range of directors around the world in theatre, TV, film, opera and dance. Current credits include The Hours (The Metropolitan Opera), My Neighbour Totoro (RSC/ Barbican Theatre), as well as the “The Ballad of Renegade Nell” for Disney+.

After being nominated for a Craft & Design Award for his work on season one, Pye has now been nominated for a Royal Television Society Award for his work on season two of Sally Wainwright’s acclaimed BBC One and HBO series “Gentleman Jack.” Pye served recently as Designer on the Bolshoi Theatre debut of The Seagull and Messiah for the Châtelet Theatre in Paris and the Lyon Opera. Select Broadway credits include Long Day’s Journey into Night, All My Sons, The Glass Menagerie, Fiddler on the Roof (Tony nomination), The Testament of Mary, Cyrano de Bergerac and Medea. Select West End credits include Who’s Afraid of Virginia Woolf?, A Christmas Carol, Sinatra and Medea. Select opera credits include Cosi fan Tutte, The Death of Klinghoffer and Eugene Onegin (ENO and The Metropolitan Opera co-productions); Akhnaten (ENO, MET, LA Opera); and Anna Karenina (Joffrey Ballet). In film and television, Pye’s credits include “To Walk Invisible” by Sally Wainwright (BBC, PBS); “Gloriana,” “A Feast at Midnight,” “Christie Malry’s Own Double Entry,” “Richard II” and “Twelfth Night” (Channel 4).

SANDRA WOODALL (Costume Designer), visual artist and a leading designer for dance, has designed sets and costumes at San Francisco Ballet, Stuttgart Ballet, Bolshoi Ballet, Norwegian National Ballet, the State Opera Ballet of Austria, Dance Theatre of Harlem, Royal Winnipeg Ballet, Houston Ballet, Hubbard Street Dance Project, Singapore Dance Theatre, National Ballet of Finland and other companies around the world. Woodall’s artwork has been shown in exhibitions at the Wadsworth Atheneum in Connecticut, the San Francisco Museum of Performance and Design, and at WearableArt, Hong Kong. She has been a Fulbright scholar at Taiwan National University of the Arts and has designed many productions in Taiwan and China, including 2009’s stadium-scale opening for the Deaf Olympics, the 100th anniversary celebration of Taiwan National Day, Winter Journey by Wan Fang in Beijing and the 2019 premiere in Shanghai of Stan Lai’s 8-hour epic, AGO.

creative team

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DAVID FINN (Lighting Designer) began his professional career as a lighting designer at age 16, working for puppeteer Burr Tillstrom — “Kukla, Fran and Ollie.” His design credits for dance include works for such renowned choreographers as Sasha Waltz, Paul Taylor, Twyla Tharp, Merce Cunningham, James Kudelka, José Limón, Helgi Tomasson, Liam Scarlett, Yuri Possokhov and Dana Reitz, as well as for leading international companies. Finn was the resident lighting designer for Mikhail Baryshnikov’s White Oak Dance Project from 1993 to 2000. His opera work includes projects for the Metropolitan Opera, Royal Opera, Paris Opera, La Scala Milan, Salzburg Festival and many others. Finn has designed the Cirque du Soleil shows ZED in Tokyo, and R.U.N. and Michael Jackson ONE in Las Vegas. Recent projects include the world premieres of The Flying Dutchman for the Metropolitan Opera, The Seagull for The Bolshoi Ballet, Symphonie MMXX for Sasha Waltz and The Berlin Ballet, Anna Karenina for the Joffrey Ballet, Lohengrin for The Bolshoi Opera & the Metropolitan Opera, Antony and Cleopatra for the San Francisco Opera, Cinderella for The Royal Ballet, and Summer & Smoke with choreographer Cathy Marston for ABT and the Houston Ballet.

FINN ROSS (Video Designer) has won two Oliviers, a Tony Award and three Drama Desk awards. Ross’ theater work includes My Neighbour Totoro (Barbican); Dancin’ (Broadway); Frozen (International); Back to the Future (West End); Tammy Faye, Spring Awakening (Almeida); Mean Girls (Broadway); Harry Potter and the Cursed Child (West End and Broadway); The Curious Incident of the Dog in the Night-Time (Broadway, West End and tour); Jagged Little Pill, In the Body of the World and Crossing (American Repertory Theatre and Broadway); American Psycho (Broadway and Almeida); Betrayal (Broadway); Chimerica (Almeida and West End); The Tempest (Royal Shakespeare Company and Barbican); and Master and Margarita, All My Sons and Shun-kin (Complicité). His opera credits include The Rise and Fall of the City of Mahagonny (Royal Opera House); Benvenuto Cellini, Death of Klinghoffer, Death in Venice, Eugene Onegin, Simon Boccanegra, Damnation of Faust and Don Giovanni (English National Opera); Hansel und Gretel, Zauberflöte and A Dog’s Heart (Dutch National Opera); La Clemenza di Tito and The Adventures of Mr. Brouček (Opera North); Les Pecheurs de Perles, Turn of the Screw (Theatre an der Wien); and Rinaldo (Glyndebourne). Ross’ design work for dance includes Le Petit Prince (National Ballet of Canada) and Frankenstein (Royal Ballet).

FAYE ARMON-TRONCOSO (Props and Set Decorator) was the first Props/ Set Decorator to have won an Obie Award — ever! Her Broadway credits include The Museum of Broadway; Linda Vista (Hayes); Head Over Heels (Hudson); The Terms of My Surrender (Belasco); Oslo (Lincoln Center); Les Liaisons Dangereuses (Booth); The Gin Game (Golden); Fun Home (Circle in the Square, Tony Award nomination for Best Set); The River (Circle in the Square); Of Mice and Men (Longacre); Macbeth (Lincoln Center); Testament of Mary (Walter Kerr); Golden Boy (Belasco); Clybourne Park (Walter Kerr, Tony Award nomination for Best Set); War Horse (Lincoln Center, Tony Award for Best Set); The Merchant of Venice (Broadhurst/Delacorte, Tony Award nomination for Best Set); Enron (Broadhurst) and Edward Albee’s Seascape (Booth). Faye’s Off-Broadway credits include In the Heights (37 Arts) and Bug (Barrow Street Theater, Obie Award) and a million more OffBroadway productions at Lincoln Center Theater. For television, Faye was Art Director on “The Big Fib” and Prop Master on “The Good Fight.”

26 creative team ARI PELTO (Conductor). After earning his Bachelor of Music in Violin Performance at Oberlin Conservatory, Pelto studied conducting at the Sibelius Academy in Helsinki, the Rubin Academy in Jerusalem and at Indiana University. At the age of 24 he was appointed Assistant Conductor at the Spoleto Festival, followed by his appointment at Sarasota Symphony, then known as Florida West Coast Symphony, as Associate Conductor. He has conducted some of America’s leading symphonic orchestras, among them Detroit Symphony, San Diego Symphony, St. Louis Symphony, Kansas City Symphony, and Virginia Symphony, as well as opera orchestras in repertoire that includes Bartók, Boccherini, Britten, Debussy, Gluck, Korngold, Laitman, Gershwin, Haydn, Kodaly, Mozart, Mahler, Prokofiev, Puccini, Respighi, Schoenburg, Tchaikovsky, Verdi, and Wagner. Appointed Music Director at Opera Colorado in 2015, Pelto has conducted acclaimed performances of La traviata, Don Giovanni, Madama Butterfly, Aida, La Bohème, Falstaff, La fanciulla del West, Le Nozze di Figaro, Lucia di Lammermoor, Il Barbiere di Siviglia, Pagliacci, Otello, Carmen, Rigoletto, and Die tote Stadt among others for the company to date, and contemporary titles include The Shining; the world-premiere of Lori Laitman’s long-awaited work, The Scarlet Letter (a recording of which was released on the Naxos label); and the world premiere of Gerald Cohen’s opera, Steal a Pencil for Me, based on a true love story set in a concentration camp during WWII. In 2023, Maestro Pelto was appointed Principal Conductor and Artistic Advisor at Sacramento Philharmonic and Opera; symphonic concerts this season include Brahms’ Stormy Symphony, suite from Prokofiev’s Lieutenant Kijé, Rachmaninoff’s Piano Concerto No. 2 with Michelle Cann, Sibelius’ Symphony No. 3, and Mussorgsky’s Pictures at an Exhibition.

TAMARA DWORETZ (Conductor) is driven by her belief in the power of classical music to inspire, spread joy, and enrich the human experience.

Her compelling, imaginative performances transport audiences so that “reality still(s).” [Seattle Times]. Dworetz’s 2025-26 season includes debuts with the Las Vegas Philharmonic and Symphony of Northwest Arkansas (SONA). Dworetz is in her 3rd season as Artistic Director & Conductor of the Georgia Philharmonic. Dworetz has conducted the Cincinnati Symphony, St. Louis Symphony, Boston Pops, Sarasota Orchestra, Atlanta Symphony Orchestra, Louisiana Philharmonic Orchestra, Atlanta Ballet Orchestra, Arkansas Symphony, Amarillo Symphony, Paris Mozart Orchestra, Dallas Opera Orchestra, Boulder Philharmonic, Cabrillo Festival Orchestra, and Mankato Symphony. Recently, Dworetz conducted her first staged opera, Bizet’s Carmen. She has served as an assistant and/or cover conductor for the Orchestre de Paris, Gürzenich Orchestre Cologne, BBC Concert Orchestra, Atlanta Symphony Orchestra, and Minnesota Orchestra. She won 2nd prize in the Boston Pops’ Leonard Bernstein Conducting Competition and was a recipient of the Bruno Walter Conducting Fellowship at the Cabrillo Festival of Contemporary Music selected by Cristian Măcelaru.

Dworetz is featured in the Netflix documentary, Maestra, directed by Maggie Contreras and produced by David Letterman. She serves as Associate Conductor of Carnegie Hall’s National Youth Orchestras, NYO-USA and NYO2, and is Director of Orchestral Studies at Georgia State University and Charles Thomas Wurm Distinguished Professor in Instrumental Music.

She has served guest conducting residencies at University of Texas Butler School of Music, Boston University School of Music, SUNY Fredonia School of Music, and the Longy Conservatory Orchestra at Bard College. She has guest conducted All-State Orchestras in Texas, Virginia, Indiana, Colorado, Georgia and Washington (All-Northwest) as well as the Atlanta Music Project and worked with the Atlanta, Austin, Emory and Boston Youth Orchestras. She maintains a graduate conducting studio at Georgia State University and has led conducting workshops for music educators and young musicians.

28 creative team Video Programmer and Equipment provided by Moro Media Video Engineers, Michael Commendatore & Joey Moro Associate Lighting Designer, Ben Rawson Makeup Design by Blythe Tierney Dever Costume Construction by Parkinson Gill Ltd Lighting Equipment provided by 4 Wall Entertainment, Inc Additional Costume Construction by Brigit Pfeffer, Mark Zappone, All-Stitch Masks & Mice Artisan, Robert Allsopp Additional Costumes, Scenery & Props Construction by Alliance Theatre Deck Crew Chiefs, Brian Rosser, Felicia Edwards Production Electrician, Jamie Mancuso Head Electrician, Brandon Polk Head Props by Arlene Collins Lead Projectionist, Jay Holloway Acrobat Coach, Cary Jones Make Up Artist, Tatiana Hayton Wigs Artists, Frandresha “Brie” Hall & Torrien Thomas Automation Lead, Sid Sykes Rigging Equipment provided by Atlanta Rigging Systems Assistant Stage Manager, Jane Kuipers For the full creative team behind this production, visit atlantaballet.com/performances/nutcracker

board of trustees Officers Nancy Field, J.D., Chair Nigel Ferguson, Vice Chair Linda Morris, Treasurer Jan Beaves, Secretary Cynthia Crain Ed.D, Secretary Trustees Elizabeth Adams Emily C. Baker Jan Beaves Ginny Brewer Chris Carlos Lynn Cochran-Schroder Lynda B. Courts Vanessa Delmer Lovely A. Dhillon, J.D. Yelena Epova, CPA Caroline B. Gottschalk Joyce Houser, Ph.D Barbara S. Joiner Kathleen Knous Kristen Manion Taylor Sasha Morozova Gennadi Nedvigin* Kristy Rachal Katherine Scott Scott Wagner Tom West* Cristel Williams Advisory Council David M. Barnett Mark R. Bell Ph.D. Dr. Meria Carstarphen Harvey Coleman Elaine E. Davis Erroll B. Davis Anne-Laure Desjonquères F. Javier Diaz Raoul “Ray” Donato Jake Evans Linda Nau Givens Mark Goldman Robert L. Green Susan S. Kettering Allegra Lawrence-Hardy Allen Maines Santiago Marquez Juan Mejia Allen W. Nelson Eric Robbins Arden Hess Rowland Scot Safon Rebecca Christian Smith Anat Sultan-Dadon Dov Wilker Allen Yee

Honorary Board Margaret Carton David Crosland Kenneth R. Hey Wade Hooper J. David Hopkins Bill Huber, CPA Michael Jones Sloan Kennedy-Smith Edward Krugman Amanda Shailendra Michelle Sullivan Trustees Emeriti Lynda B. Courts Lavona S. Currie† Karen Vereb† Patti Wallace† Lifetime Board Jane Dean Carole Goldberg Joseph Prendergast Deen Day Sanders Corps de Ballet Board Jacqueline Flake, Chair Nancy Flaherty, Vice-Chair Jen Alewine, Secretary Joanne Chesler Gross, Treasurer Sharon Silvermintz, Immediate Past Chair Sineet Berhane Susan Currie Kimberlyn Daniel Jane Dean Jessica DeHart Christy Fiftal Corrie Johnson Lara Mitchelson Amy Nelson Melissa Nowak Gailen Rosenberg Arden Hess Rowland Dottie Smith† Marsha Taylor Erica Thomas Doug Weiss Preston Wilson, Jr. Mary Kathryn Winsett *Ex-Officio †In Memoriam

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orchestra

ATLANTA BALLET ORCHESTRA VIOLIN Lisa Morrison Concertmaster

FLUTE Jeanne Carere Principal

TROMBONE William Mann Principal

Sally Gardner-Wilson Assoc. Concertmaster

Aaron Rib

Ryan Black Mark Spradley

Linda Pinner Principal Second Patti Gouvas Alison James Kathryn Koch Mao Omura Patrick Ryan+ Elonia Varfi Rafael Veytsblum Ying Zhuo VIOLA Joli Wu Principal

OBOE Alexandra Shatalova Prior Principal Christina Gavin CLARINET Katherine White Principal Greg Collins BASSOON Amy Pollard Principal

TUBA Don Strand Principal TIMPANI Scott Douglas Principal PERCUSSION Mike Cebulski Principal Karen Hunt Jeff Kershner

Josiah Coe Shadwa Mussad

HORN Jason Eklund Principal

HARP Nella Rigell Principal

CELLO Charae Krueger Principal

Eric Hawkins Mackenzie Newell Amy Trotz

+ Leave of Absence

Alana Bennett-Garcia Alexis Lee InYoung Park

TRUMPET Kevin Lyons Principal

CONTRABASS Adam Bernstein Principal

Anthony Barrington Victor Pires

Jack Meisburg

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38 supporters

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42 administration EXECUTIVE Tom West, Executive Director Connor Maguire, Executive Assistant & Board Liaison ARTISTIC Gennadi Nedvigin, Artistic Director Angela Agresti, Company Repetituer Rory Hohenstein, Company Repetiteur Eduardo Permuy, Company Repetiteur Claudia Schreier, Choreographer-in-Residence Western-Li Summerton, Company Pianist

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administration ARTISTIC OPERATIONS Sicily Palms, Director of Artistic Operations Allison Cash, Artistic Operations Coordinator/ EXECUTIVE Assistant Stage Manager Tom West, Executive Director Katie Ude, Orchestra Operations Coordinator/ Nathan Jones, Executive Assistant Music Librarian FINANCE & ADMINISTRATION

Pamela Whitacre, Chief Operating Officer FINANCE & ADMINISTRATION Thomas Fowlkes, General Manager Pamela Whitacre, Chief Operating & Financial OfficerHana Miller, Controller Amani Hill, Accounts Payable & Benefits Manager Calla Kallina, Controller Dana Hylton Calabro, Director, Data Services Kimberly Jackson, Project Accountant/AP Manager ADVANCEMENT Senior Director Resources of Advancement, Natasha Manda Harris,Wilhite, Director of Human Major Gifts and Board of Liaison Dana Hylton Calabro, Director Technology and Sherren Sandy, Director of Advancement, Sales Operations Donor Engagement Kelly Criss, Director of Advancement, PATRON SERVICES Leadership Gifts Megan Pearson, Services Manager FrancescaPatron Frederick, Director of Advancement, Institutional Gifts Stephen Hall, Patron Services Associate

Sophia Doctoroff, Patron Services Associate MARKETING & PUBLIC RELATIONS Kate Biddle, Group Sales Manager

Tricia Ekholm, Chief Marketing Officer Allison Kang, Director of Public Relations

ADVANCEMENT Taylor Graves, Interim Graphic Designer Nicole Pietro, Interim Chief Advancement Officer Brian Wallenberg, Video Content Producer Momongan, Associate Director of BrandonMyredith Brown, Senior Director of Individual Giving Group Sales ToniSenior C. Vacinek, Associate Director of Marketing Kelly Criss, Director of Institutional Giving Communications AnsleighZoey Brown, Individual Giving Manager Fleck, Social Media Manager/Graphic Kathryn Gutierrez, Designer Special Events Manager Jasmine Atkins, Special Events Coordinator PATRON SERVICES Lindsay Smith, Associate Director of Patron MARKETING & PUBLIC RELATIONS Services Tricia Ekholm, Chief Marketing Officer Desiree Houston, Patron Services Manager Fiona Shaw, Marketing and Communications Mallory Hazen, Patron Services Assistant Director Jasmine Martinez, Patron Services Assistant Alane Marco, Design Director Josh Reynolds, Patron Services Assistant Tumi Akin-Deko, Communications Coordinator PRODUCTION Henry Woods, Manager of Marketing Strategy Dave Smith, Production Manager & Technical and Data Analysis Director Amber Times, Social Media Manager Sicily Palms, Company Manager

COSTUMES Colleen McGonegle, Costume Director Susan Carter, Costume Construction Supervisor Abigail Dupree-Polston, Patternmaker Abby Thurman, Company Shoe Manager/ Wardrobe Supervisor Erin Magner, Costume Technician Briá Sanders, Costume Technician Katherine Savage, Costume Technician CENTRE FOR DANCE EDUCATION Gennadi Nedvigin, Artistic Director Sharon Story, Dean Serena Chu, Atlanta Ballet 2 Repetiteur Diane Caroll, Community Partnerships Director CENTRE FOR Cooper, DANCE EDUCATION Kelly Tonina Centre Administrative Gennadi Nedvigin, Artistic Director Director Sharon Story, Dean Ansilla Bearden, Buckhead Centre Manager & Kelly Tonina Cooper, Centre Administrative Summer Director Programs Manager Diane Caroll Community Partnerships Ashley Suta,Sales, Virginia-Highland Centre Manager MiaDirector Givens, Adult Dance Coordinator Kate Gaul, Buckhead Centre Principal Evan Rozier, Front Desk Manager Nicole Adams, Virginia-Highland Centre Principal Ansilla Bearden, Satellite Manager

Academy Faculty Brittney Flowers, Centre Education Associate Serena Chu, Anna Penny, Natalya Vyashenko, Faculty Kirill Zaretskii Nicole Adams, Alice Balhatchet, Ansilla

Bearden, Shirley Bennett, Haley Brink, Darby Part-Time Faculty Burgess, Serena Chu, Harmony Clair, Kelly Marlena Abaza, Shirley Bennett, Georgie Grace Tonina Cooper, Kameron Davis, Nardja Butler, Diane Caroll, Tonina Cooper, el-Shabazz, Kate Gaul,Kelly Ashley Gibson, Nell Kameron Davis, TaiaInman, Galloway, Mia Givens, Heflin Goza, Jennifer LaToya Princess Jackson, Aaron Malik Jenkins, Cary Jones, Jennifer Inman,James, Madelin Jamison, Caroline Kraehe, Sergio Masero, Loren Courtney Johnson, Calla Kallina, Matoi Kawamoto, McFalls, Arneshuia Nelson, Anna Penny, Stephany Kuzmuski, Janan Mirza, Han Myers, Chantia Robinson, Diane Caroll Sales, Roscoe Arneshuia Nelson, Abi Pace, Andrea Pell, Chantia Sales, Erin Smith, Jasmine Stevenson, Abigail Robinson, Lay’la Roscoe Sales, Tan-Gamino, GraceRogers, Thompson, Jennifer VanEricka Shannon, Anderson Souza,Vyashenko, Caitlin Spencer, Meter, Calla Vaughn, Natalya Martine Weber Jasmine Stevenson, Ashley Suta, Abi Tan-Gamino, Emanuel Tavares Accompanists Elizabeth Grimes, Aleksandra Korshunova,

Accompanists Yulia Rice, Gretel Rodriguez, Kyla Zollitsch Stephanie Kosarin, Yulia Rice, Kyla Zollitsch Centre Education Associates Imani Austin-Edwards, Shannon Geary, Flora Mangio, Education Hui-Wen Peng, Kaitlin Roemer, Jada Centre Associates Russell, Samantha Emma Ana Ames, Imani Schuermann, Banks, Daniel Gray,Seif Sidney Hall, Megan Leach, Emily McAllister, Rania Mirza, Atlanta Ballet Boutique Ava Price, EvanJudge, RozierGeneral Manager Leslie Campbell Nardja el-Shabazz, Asst. General Manager,

Atlanta BalletBoutique Boutique Atlanta Ballet Louise Gordon, Retail Operations Manager Alina Chaudhri, Boutique Coordinator Mia Givens, Boutique Merchandise Coordinator

Nicole Walters, Production Stage Manager

PRODUCTION Jane Kuipers, Assistant Stage Manager Kristin Kelley, Assistant Stage Manager Nicole Walters, Director of Production Jonathan Fries, Technical Director COSTUMES Jai Auzenne, Production Stage Manager

Colleen McGonegle, Costume Director Abby Polston, Draper 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

Atlanta Ballet is an American Guild of Musical Artists (AGMA) Company.

Atlanta Ballet is an American Federation of Musicians (AFM) Company.

Atlanta Ballet is an International Alliance of Theatrical Stage (IATSE) Employees Company.

46 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.