"The Nutcracker" 2020 Event Program

THE WORLD PREMIERE OF AN ORIGINAL FILM

UNIVERSITY OF NORTH CAROLINA SCHOOL OF THE ARTS BRIAN COLE,

CHA N CELLO R

P RESEN TS

THE NUTCRACKER THE WORLD PREMIERE OF AN ORIGINAL FILM DECEMBER 12, 2020 MUSI C BY

PYOTR ILYICH TCHAIKOVSKY DI RECT ED BY

JARED REDICK AND ILYA KOZADAYEV CHO REO GRA P HED BY

ILYA KOZADAYEV EX ECUT I VE P RO DUCERS

JARED REDICK , I N T ERI M DEA N O F DANCE HENRY GRILLO , I N T ERI M DEA N O F FILMMAKING MICHAEL KELLEY , DEA N O F DESI GN & PR ODU CTION LI GHT I N G DESI GN ER

YUKO TANIGUCHI P RO DUCT I O N MA N AGER

MORGAN OCHS P RO DUCT I O N STAGE MA N AGER

HELEN MOREAU CO N DUCTO R

KARIN HENDRICKSON I N T ERI M DEA N O F MUSI C

SAXTON ROSE SP ECI A L GUEST A RT I ST

ANTHONY SANTOS AS DROSSELMEYER N A RRATO R

ROSEMARY HARRIS EHLE FEAT URI N G

THE UNCSA SYMPHONY ORCHESTRA UNCSA.EDU/NUTCRACKER

Behind-the-Scenes photos by Peter J. Mueller, Kendall Best and Kaylin McClafferty

DEAR FRIENDS, Welcome to our reimagined production of “The Nutcracker,” where we step from the present time into the magical holiday realm of Godfather Drosselmeyer on Christmas Eve. We journey into this cinematic marvel as told through our outstanding students’ talent and the imagination of the schools of Dance, Filmmaking, Music and Design & Production.

Though the world has changed, our students’ identity as artists and creators remains a powerful and transformative force. Through the wonder and wizardry of film, we’ve transported “The Nutcracker” into the digital domain for a milestone first collaboration with the School of Filmmaking.

Their expertise allowed us to embark on a new version of our annual journey with Clara and her Nutcracker Prince.

From our dancers bringing to life the new choreography to our musicians recording a revised version of Tchaikovsky’s iconic score to our designer’s original scenic design, there is renewed brilliance and creativity in every detail of our cinematic reimagining.

It was an extraordinary adventure and learning experience for our students on set, in the recording studio and beyond.

Whether from the in-person safety protocols or the up-close interdisciplinary interactions, students gained in-depth insight of other disciplines that they had never experienced before. The scope of this production allowed for a unique and important opportunity for cross-genre connections.

Leading and driving forward this intersection of the arts

were Deans Michael Kelley and Henry Grillo. Without their depth of expertise and commitment to this process and our students, this production could not have come to life.

Dance faculty member Ilya Kozadayev created marvelous new choreography, authored the narration, and co-directed “The Nutcracker” all while addressing the necessary COVID-19 safety restrictions, which is nothing less than remarkable. His passion was a driving force for this production, which would not exist without him. Further, Karin Hendrickson’s dedication to the project is evident in her masterful conducting and beautiful arrangement of the score that serves as the lifeblood of the film. UNCSA contemporary dance alumnus and Dance Theatre of Harlem member Anthony Santos joins us to bring a freshness and exceptional uniqueness to the role of Godfather Drosselmeyer, created specifically for him and this production.

It’s hard to imagine this time of year without “The Nutcracker,” and thanks to the artistry, commitment and hard work of our UNCSA students, faculty and staff, we have the privilege to share it with you. Seeing this ballet with fresh eyes, we touch the boundless optimism that only imagination can bring. Our sincere hope is that you are captivated by our reimagining as much as we took joy in creating it for you.

JARED REDICK I N TER I M DEA N OF DA N CE

NUTCRACKER PROLOGUE NARRATION Written by Ilya Kozadayev Edited by Autumn Karen T’was a big Christmas party, on Christmas eve night, At the Stahlbaums’ fine home, where our story takes flight.

In a quaint little town, shining festive and bright, Dwelled kindhearted young Clara, a child of delight.

Her Godfather Drosslmeyer, clockmaker by trade, With his presents in tow, came ’round traveling late.

Furnished with a cloth mask below his twinkling eyes, And a dandy long cape, to dress up his disguise.

His keen clock making skills were used ’ere that fine eve, Built a Nutcracker doll for the girl to receive.

The doll looked not so handsome, was not a great prize, Clara’s fondness for him came as quite the surprise.

The girl carried Nutcracker with her through the eve, ’Til her naughty young brother the doll did retrieve.

Ran he off with the soldier-dressed toy in his grip, Rudely broke the doll’s head in a tumble and slip.

To sweet Clara’s heartsickness her godfather said: “Your poor toy seems to have a great crack in his head.”

“You must let him have rest with your dolls in their bed, I’ll wrap him safe and sound with a scarf and a thread.”

“When you wake from your slumber, he should be alright.

So, run off you to sleep, have sweet dreams and goodnight.”

Drosselmeyer’s workshop featuring Drosselmeyer (Anthony Santos) and the Nutcracker Prince (Julian Pecoraro).

CREDITS EXECUTI VE P RO D UC ER AND D I RECTO R

DIR ECTOR A N D CHOR EOGR A PHE R

JARED REDICK

ILYA KOZADAYEV

Interim Dean of Dance Jared Redick began his ballet training with his mother, Julia Cziller Redick, in Reston, Virginia. He is a graduate of the high school ballet program at UNCSA, where he studied with founding Dean of Dance Robert Lindgren. Redick went on to train at Mikhail Baryshnikov’s School of Classical Ballet (ABT) and at the School of American Ballet. His performance career launched with the San Francisco Ballet, followed by dancing as a soloist with the Miami City Ballet, the Suzanne Farrell Ballet and Boston Ballet. In Boston, he danced a diverse repertoire including principal roles in works by Petipa, Cranko, Balanchine, Elo, Kylian, Forsythe, Tudor, Ashton and Tharp. Following his retirement from the stage in 2009, he has taught nationally and internationally to institutions including Royal Danish Ballet School, Tivoli Ballet Theatre, Houston Ballet School, Orlando Ballet School, Nashville Ballet School, Charlotte Ballet and Yale University. He served as guest ballet master with Finnish National Ballet, Houston Ballet, Nashville Ballet and Cincinnati Ballet. Redick is a recipient of the National Foundation for Advancement in the Arts Award for Exceptional Artistic Achievement, and in 2012 was appointed associate fellow of Pierson College at Yale University. Since 2013, he has been a judge and master teacher for the Youth America Grand Prix (YAGP). He is the longtime director of the UNCSA annual stage production of “The Nutcracker,” named by Dance Teacher Magazine as one of the nation’s best productions of the holiday classic.

Ilya Kozadayev, originally from St. Petersburg, Russia, received his dance training from Vaganova Ballet Academy, School of American Ballet, Academy of Colorado Ballet, and John Cranko Ballet Academy in Stuttgart, Germany. Kozadayev danced professionally performing an array of international repertoire, as a soloist with Colorado Ballet, Pittsburgh Ballet Theater, Boston Ballet and as a soloist with the Houston Ballet. As a dancer, Kozadayev was a winner of the New York International Ballet Competition. Kozadayev began choreographing for Boston Ballet’s Raw Dance, and he went on to create ballets for Houston Ballet’s choreographic showcase, original work for Houston Ballet II, Kansas City Ballet, Festival Ballet of Providence, Milwaukee Ballet II, Oklahoma Festival Ballet, Ballet Arkansas, Tulsa Ballet II, Contemporary Dance Oklahoma, University of Utah School of Dance and UNCSA among others. In 2015, Kozadayev won the Ballet Arkansas Visions Choreography Competition. In 2017, he created an original version of “Romeo and Juliet” for Festival Ballet Providence. Most recently, Houston Ballet II performed Kozadayev’s original work in a gala celebration at the Hamburg Opera House, Hamburg, Germany and in Cannes, France.

Kozadayev was a finalist of the National Choreographers Initiative.

In 2019, his original choreography for UNCSA was performed at Lincoln Center for the Youth America Grand Prix gala. Kozadayev served as assistant professor of ballet at the University of Oklahoma School of Dance, and in 2017 joined the faculty of UNCSA, where he serves as assistant professor. Kozadayev holds an M.F.A. degree from Jacksonville University.

CO ND UCTO R

GU EST A RTIST, DROSSEL MEY ER

KARIN HENDRICKSON

ANTHONY SANTOS

American conductor Karin Hendrickson is equally at home with opera and orchestra. For the upcoming season, she will lead the Orchestre National d’Ile de France and the BBC Concert Orchestra, among others. She was also one of three conductors invited as the Atelier des Créatrices d’Opéra Conductor Participant at the Festival Aix-en-Provence, France, and was subsequently awarded the prestigious European Network of Opera Academies Young Conductor Residency. Other conducting highlights include Pittsburgh Symphony Orchestra, Nashville Symphony Orchestra, Kammersymphonie Graz (Austria), Orchestra Sinfônica da USP (Brazil), and Sao Paulo Symphony (Brazil). Hendrickson’s belief in working with musicians of all ages has led to a growing profile as an exceptional orchestra pedagogue. Current appointments include: the 2020 ensemble residency at Ghent Music Conservatorium, Belgium; the 2020 orchestra residency for the National Youth Orchestra of Scotland (Senior Orchestra); the 2019 Associate Conductor to the National Youth Orchestra of Great Britain. She has prepared young orchestras for Gustavo Dudamel and the Barbican Centre, for Michael Tilson-Thomas and the London Symphony Orchestra/ Guildhall School of Music side-by-side, and numerous times for Marin Alsop and performances of Bernstein’s MASS, Britten’s War Requiem and concerts with the Britten-Pears Orchestra at Snape Maltings, England. Hendrickson completed her conducting training at Peabody Conservatory and the Royal Academy of Music (London) and was honoured to be mentored by Marin Alsop through the Taki-Alsop Foundation. Hendrickson said, “I want give a special thank you to UNCSA for extending this third invitation to work with their incredibly talented students and faculty.”

Born in New York City, Anthony Santos began his dance training under the direction of Lori Klinger at Rosie’s Theatre Kids, where he studied tap, jazz, theater dance, ballet, music and acting from 2005–13. Later he continued his training at Alvin Ailey American Dance Theater from 2009–13, working with Adrienne Hurd, Pedro Ruiz and Kristen McGrew among others.

Summer intensives included Joffrey Ballet, Jacob’s Pillow and Alonzo King LINES Ballet, all on full merit scholarships. Santos graduated from UNCSA under the direction of Susan Jaffe.

While at UNCSA he performed works by Jaffe, Doug Varone, Ton Simmons, Lucinda Childs, Brenda Daniels, Merce Cunningham, Twyla Tharp, José Limón, Paul Taylor and Sasha Janes. He has a background in musical theater, singing and acting. Santos has performed with Kaatsbaan Culture Park, Zest Collective and Caitlin Trainor Dance in New York City and at Antonio Ciacci’s La Spezia Jazz Festival. Now Santos is a company artist with the Dance Theatre of Harlem under the direction of Virginia Johnson.

E XE C UT I V E P R O D UC E R

DIR ECTOR OF PHOTOGR A PHY

HENRY GRILLO

THOMAS ACKERMAN, ASC

Henry Grillo has been interim dean of the School of Filmmaking at UNCSA since 2019, and was associate dean since 2010. Grillo has four decades of experience in teaching and higher education administration. Before transitioning to the film school, he taught for 25 years in the UNCSA School of Design and Production, where as assistant dean and director of graduate programs he oversaw growth from four M.F.A. programs to 10. In the School of Filmmaking, he helped initiate new graduate programs; oversaw the design, construction, and opening of the New Media Building; and provided infrastructure for a 42 percent increase in enrollment over a decade. Grillo is a recipient of both the UNCSA Award for Teaching Excellence and the UNC Board of Governors Award for Teaching Excellence. He has also taught at Cornell University, Carnegie Mellon University and the University of Evansville (Indiana). Grillo has designed scenery, lighting and sound and provided technical and production support for theater, film, television and private industry.

He has an M.F.A. in theatrical production from Carnegie Mellon University and a B.A. in music theory and composition from Cornell University.

Cinematography Department Chair Thomas Ackerman, ASC, of the School of Filmmaking at UNCSA represents 50 years of experience in motion picture creation. With a diverse filmography, Ackerman served as a motion picture production officer in the Air Force, partnered with Mike Robe to form a successful Hollywood production company, shot music videos with major artists at the dawn of MTV, as well as working extensively as a commercial cameraman/director. Highlights of the 38 motion pictures he shot as director of photography are “Beetlejuice” (1988), “Christmas Vacation” (1989), “Jumanji” (1996) and “Anchorman: The Legend of Ron Burgundy” (2004). He also worked for Oscar-winning documentarian Charles Guggenheim from 1970–73. His awards include a CINE Golden Eagle and First Prize, Documentary, at ECOFEST, for “The Oceans: Source of Life” (1978) for the U.S. Information Agency, as writer/director; a CINE Golden Eagle for writing and directing “The Computer: A Universal Tool” (1979); and the Award of Excellence in 1990 from The Detroit Creative Director’s Council for his commercial directing for Chevrolet trucks. Ackerman is a member of the American Society of Cinematographers, the Academy of Motion Picture Arts and Sciences, the Directors Guild of America, and International Photographers Local 600. He received a B.A. in speech and dramatic art from the University of Iowa.

E XE C UT I V E P R O D UC E R

MICHAEL J. KELLEY An alumnus of UNCSA, Michael J. Kelley became dean of the School of Design and Production in July 2015. A two-time Emmy Awardwinning art director and set decorator, Kelley has experience in all facets of entertainment. He has achieved success as a senior producer and principal designer on Broadway, in regional theater, television, film and themed entertainment. International credits include projects in the Czech Republic, Japan, Dubai and China.

Kelley has been art director and set decorator for HBO, Nickelodeon, Universal Studios, Lifetime Network, Children’s Television Workshop and Walt Disney Imagineering. Kelley won Emmys in 2005 as assistant art director for HBO’s “Deadwood” and in 1994 as set decorator for Children’s Television Network’s “Sesame Street.”

He also received two Emmy nominations and three Art Directors Guild Award nominations. He received two Thea Awards from the Themed Entertainment Association, as set decorator for Tokyo DisneySea in 2002 and as project manager for CSI — The Experience in 2008. His producer credits include Dubai’s Marvel Theme Park, China’s Shanghai Expo and Disney Shanghai Resort. He was with Walt Disney Imagineering — the planning, creative development, research and creative design entity of the Walt Disney Company and its affiliates — for a total of 11 years, including six as senior producer. Kelley has extensive experience as set decorator, set designer, property master and property fabrication for companies including New York City Opera, Santa Fe Opera, Cleveland Play House, Pittsburgh Public Theatre and North Carolina Shakespeare Festival. He received a B.F.A. in scene design from UNCSA in 1987.

VISUA L EFFECTS SU PERVISOR

BOB KEEN Bob Keen has worked in the film and television industry for more than 40 years. He has directed eight feature length films and has been second unit director or effects director on more than 30 projects. He has also worked on special effects on over 250 films and television projects. Keen has supervised the visual effects/ makeup effects on 49 film and television projects. He ran his own publicly listed special effects company, Image Animation PLC, from the world-famous Pinewood Studios, England, for 23 years with international branches in Los Angeles and Toronto. Keen and his team have been nominated six times for a Saturn Award for films from the “Hellraiser” and “Candyman” series, among others.

For the last seven years, Keen has also been chair of visual effects at the UNCSA film school and has helped develop the Immersive Entertainment Program at the school. Using his special effects experience where he had a reputation for thinking outside the box, he has developed a creative process for teaching others to think and solve in unorthodox ways. Some of the major companies that have used his services are Sony Interactive Europe, the London Film Museum, Thorpe Park (Tussaud Group), Cineaqua Paris and EA Games. Some of the films Keen has worked on the special effects include: “Return of the Jedi,” “Highlander,” “Aliens,” “The Empire Strikes Back,” “Moonraker,” “Ronin,” “Event Horizon,” “The Never Ending Story,” “Superman” 1 & 2, “The Dark Crystal,” “The Keep,” “Outland,” “Dog Soldiers,” “Children of the Corn II,” “Hellraiser III,” “Candyman,” “Hardware, Waxwork,” “Hellraiser II,” “Hellraiser,” “Little Shop of Horrors,” “Lifeforce,” “The Medusa Touch” and “Nightbreed.”

Clara (Emma Cilke) in the Land of the Sweets.

Mitch Brinker frames the battle scene with a Black Magic URSA camera.

BA L L E T M AST E R

B A LLET MASTER

LAURA MARTIN

JENNET ZERBE

Laura Martin has served at UNCSA since 2010 and is currently an associate professor. She was trained primarily at The Washington School of Ballet under the direction of Mary Day, with additional training at the Joffrey School and the Chautauqua Institution.

Martin went on to join The Washington Ballet, Miami City Ballet, and American Ballet Theatre, where she danced the works of choreographers such as Balanchine, Tudor, de Mille, Tharp, Taylor and Graham, as well as most of the classical ballets. Following ABT, Martin was invited to join the Broadway cast of “The Phantom of the Opera.” She finds that teaching at UNCSA provides incredibly rewarding opportunities that continue to deepen her perspective of ballet. Most recently, Martin was honored to be invited to assist former Dance Dean Susan Jaffe with the staging of Natalia Makarova’s full-length production of “La Bayadère” for the Teatro Colón in Buenos Aires.

Associate Professor Jennet Zerbe believes careful, rigorous training in classical ballet technique yields incisive, versatile dancers. Since joining the UNCSA faculty in 2014, her students have become professional dancers in American Ballet Theatre, Dance Theatre of Harlem, Sarasota Ballet, Pittsburgh Ballet Theatre, Charlotte Ballet and Northern Ballet among others. Zerbe brings studied regard and intuitive understanding of classical ballet to her students.

She trained at The Royal Ballet School in London, where her graduation performance of Odette, Act II, “Swan Lake,” garnered her an invitation to join American Ballet Theatre, where she danced for eight years under the direction of Mikhail Baryshnikov. Her repertoire included the Lilac Fairy in Sir Kenneth MacMillan’s “The Sleeping Beauty,” Dance of the Big Swans in Baryshnikov’s “Swan Lake,” as well as many neoclassical ballets by George Balanchine, including the first principal couple in “Bourrée Fantasque.”

Zerbe said, “Participating in this innovative collaboration to present UNCSA’s newly choreographed ‘Nutcracker’ delighted me. Conceived by Jared Redick, Ilya Kozadayev’s choreography highlights the variety and skill of our students and arts schools.

Captured here is a taste of the true bounty of our rich arts community. Enjoy the feast!”

BA L L E T M AST E R

ANGELINA SANSONE Angelina Sansone began her formal ballet training with Charlotte City Ballet in North Carolina. At the age of 14, she left her family’s home to attend The Harid Conservatory with a full tuition scholarship. After graduating from Harid, she spent two seasons with the Joffrey Ballet of Chicago, where she appeared in Robert Altman’s 2003 film, “The Company.” Following her stay with Joffrey, Sansone worked toward her B.S. in ballet at Indiana University before accepting a contract with the Kansas City Ballet in 2005.

In her 14 seasons with the company, she enjoyed a rich career working with numerous choreographers and performing a wideranging repertory of soloist and principal roles. While pursuing her performing career, Sansone maintained an active teaching schedule and participated in a variety of creative projects. For more than 15 years, she was on staff as ballet teacher with several dance schools and taught as guest faculty across the country. In August of 2018, she returned to her home state and proudly joined the ballet faculty at UNCSA. Before beginning her employment, she received her certification from the American Ballet Theatre National Training Curriculum in levels pre-primary through level 5. In the following years, in addition to her teaching schedule, Sansone has staged multiple pieces and assisted in the creation of two new works by Ilya Kozadayev and Stephanie Martinez.

Sophia Williams marks the shot for the Mouse King (William Whitney) and the Nutcracker Prince (Julian Pecoraro) battle scene.

CREATING A WORLD OF MAGIC AND DELIGHT THE HISTORY OF THE UNCSA “NUTCRACKER” This is a year like no other, creating a new and innovative page in the history book for “The Nutcracker” at UNCSA, which has been performed annually since 1966. In that year, Robert Lindgren, founding dean of the UNCSA School of Dance, and his wife, Sonja Tyven, a School of Dance faculty member, staged “The Nutcracker” at UNCSA for the first time as part of the town of Salem’s 200th anniversary celebration.

Lindgren and Tyven had only three months and $2,500 to make “The Nutcracker” stage-ready. Sets were rented from the Washington National Ballet and supplemented by donations of furniture and props. Recordings of Tchaikovsky’s score were collected. The choreography was modeled after what Lev Ivanov and Marius Petipa created for the original production in 1892.

The costumes were uniquely UNCSA, envisioned by the school’s then-resident designer, Christina Giannini.

“The Nutcracker” was performed by UNCSA students and faculty for the first time on Dec. 10, 1966, in Reynolds Auditorium, and the audience instantly fell in love.

Since that first performance, the UNCSA “Nutcracker” production has been reimagined, recreated and refreshed numerous times — perhaps never more so than this year, with an all-new version for film. In year two, Giannini designed scenery to match the costumes, the latter of which were used for more than 30 years. The original sets were replaced in 1978 with new designs by Mark Pirolo, then-director of the School of Design and Production (D&P) Scene Design Program. Other than a move to the newly refurbished Stevens Center in 1983, the production remained largely unchanged until the late ’90s.

In 1998, “The Nutcracker’’ received a significant overhaul.

UNCSA D&P alumnus Campbell Baird updated most of the production’s costumes, which harkened back to their 1960s origin. Baird also revamped the sets, and alumnus John McKernon created new lighting, giving a fresh look and feel to the Twin City’s beloved ballet.

The production was reimagined once again in 2009, when Ethan Stiefel, then dean of the UNCSA School of Dance, developed

new choreography for the ballet with three faculty members.

Although many of the production materials from the ’90s are still used today, the new staging required several costume and prop changes. For example, the choreography now called for a smaller toy box, which meant that the Toy Soldiers’ hats no longer fit!

Kathryn Grillo and Carolyn Fay, both former directors of the Dance Costume Shop, designed new looks for Clara, the Sugar Plum Fairy, her Cavalier Prince and Mother Ginger. They also added a corps of Baby Mice. Howard Jones, then-Design and Production’s director of scenic art and scene painting, contributed new scenic elements, including the glorious growing Christmas tree. New lighting was added by D&P alumnus Brad Fields, resident lighting designer for American Ballet Theatre.

Also in 2009, the UNCSA Nutcracker Orchestra, composed of students from the School of Music, served as the production’s pit orchestra for the first time. The Winston-Salem Symphony had been providing live music for the school’s “Nutcracker” since 1969.

Almost all of the Sugar Plums and Cavaliers who danced in the UNCSA “Nutcracker” later joined professional companies — many of them as soloists and principal dancers. UNCSA alumna Gillian Murphy (H.S. Dance ’96), principal dancer with American Ballet Theatre, is one of several alumni who have returned to reprise these featured roles. Other renowned guest artists, such as Julie Kent and David Hallberg, have also graced the Stevens Center stage. This year, alumnus Anthony Santos (B.F.A. Dance ’17) of the Dance Theatre of Harlem performs the newly expanded role of the magical Drosselmeyer.

The year 2020 presented challenges like never before as UNCSA acclimated to limitations from a global pandemic. Despite the hurdles, students and faculty collaborated to bring audiences worldwide an all-new version of “The Nutcracker.” With health and safety as the top priority, the classic work was abridged and adapted specifically for film through a unique collaboration among the schools of Dance, Filmmaking, Music and Design & Production.

This “Nutcracker” features all-new choreography by faculty member Ilya Kozadayev while retaining favorite scenes and characters from the traditional stage production. Audiences will spot new details, such as costumes enhanced for film and that incorporate masks. Magical touches created through visual effects and animation bring the story to life like never before.

This year’s “Nutcracker” is an example of how UNCSA is finding innovative ways to provide gifted emerging artists with the experience, knowledge and skills to excel in their disciplines, preparing them to shape the future of the arts industry.

CAST CLARA

MICE

SUGAR PLUM ATTENDANTS

MARZIPAN

Emma Cilke

Katherine Pearsall-Finch Matilda Jenkins Sophie Kanzler Chloe Milling Ailanni Quander Tatum Smith

Jacob Duehring Jett Lecamu Alayna Fisher

Eleanor Broughton

Malcolm Alexander Narada Baba Neil Basu Nathaniel Geis Stephen Gunter Karl Pil DJ Pompey Gabriel Roush

SOLDIERS

SNOWFLAKES

Maya Beck Ayla Bramblett Avery Davis Francie Foster Meg Frantz Mariclaire Livingston Olivia Renegar Sophia Smith

Ida Cacanindin Piper Conti Cambria Dancu Katie Drozd Charlotte Evans Rebekah Fedele Sofia Johnson Vanessa Meikle Asia Parham Lydia Schneider Dana Sheldon Ava Grace Williams

DROSSELMEYER

Anthony Santos NUTCRACKER PRINCE

Julian Pecoraro SUGAR PLUM FAIRY

MOUSE KING

William Whitney

CHOCOLATE

Caroline Credle Grace Fitzgerald Stephen Gunter Jacob Miller

TREPAK

Max O’Connell Khi’Shawn Robinson William Whitney FLOWERS

Ally Barrows Eleanor Faub Alicia Giaimo Delaney Hart Helena Hoermann Keira Holland Jillian Kerr Vivian LaCerda Harper Lilley Alexandra Pernie Avery Snyder

COFFEE

Deanna Cudjoe Ruiko Jacobs Madelyn Wolf TEA

Aimee Le Ava Grace Williams

PRODUCTION STAFF PRODUCER

STAGE MANAGER

CAMERA PRODUCTION ASSISTANTS

HEAD ELECTRICIAN

Bob Gosse

Ashley Pennington

Eli Thomas

ASSOCIATE PRODUCERS

ASSISTANT STAGE MANAGER

Fer MacFarlane Morgan Ochs

Kat Denning

Sophia Williams Cassidy Scott Katelyn Adkisson Summer Girson

PICTURE EDITORS

Chloe Lupini

PRODUCTION ASSISTANT

Laura-Ellen Adair Kelly Hois Sam Bailey Jacob Bell Gabriel Lopez

Grayson Fisher

PRODUCTION MANAGEMENT FACULTY ADVISER

Eric Nottke

GAFFERS

“A” CAMERA/STEADICAM OPERATORS

Trevor Gilman Ben Trevey

Juliana Rella Mitchell Brinker

Mitchell Brinker Reece Clemmons Summer Sierra

1ST ASSISTANT DIRECTOR

Fer MacFarlane 2ND ASSISTANT DIRECTORS

Johnny Deffinbaugh Maxwell Rousso

PRODUCTION STAGE MANAGER

FOLLOW SPOT OPERATOR

Evie Nootenboom ELECTRICIANS

1ST ASSISTANT CAMERA

Kyler Skipper Reece Clemmons

2ND 2ND ASSISTANT DIRECTORS

Hailey Port Abby Goyea Carter Bailey Annie Boardman Peter Buck

KEY GRIP

Zach Emick

2ND ASSISTANT CAMERA

GRIP

Hailey Port Peter Valeri

Andrew Parkerton

BEST BOY GRIP

Carter Bailey Ben Trevey LIGHTING DESIGNER

Yuko Taniguchi ASSISTANT LIGHTING DESIGNER

Alexa Morales

Jack Koch

Eric Hill

GRIP AND ELECTRIC SWING

“B” CAMERA OPERATORS

PRODUCTION ELECTRICIAN

SPECIAL SYSTEMS ELECTRICIAN

Patrick Morris

Meghan Cowen

Petko Novosad

Darian Horvath

SOUND MIXER

ASSISTANT ART DIRECTOR

Liz Stewart

Helen Moreau

Lauren Cook Lyric Abbot

ASSISTANT HEAD ELECTRICIAN

LIGHTING PROGRAMMER

SCRIPT SUPERVISORS

ART DIRECTOR

ASSISTANT PRODUCTION MANAGER

Ava Tennis Abrianna Sigel Summer Sierra Conor Lawler Rohit Lila Ram

Trevor Gilman

Jamie Call Blankinship

Campbell Baird

DIGITAL IMAGING TECHNICIAN

STAGE MANAGEMENT FACULTY ADVISER

COSTUME DESIGNER

Andrew Beauregard Garrett Deutsch Izzy Flores Malcom Foster Jacob Grebber Sara Green Abigail Hall Trevor Kirschenheiter Harrison Marcus Kyle Munden Greyson Nicholson Kristina Perroni Harrison Reid Dominic Riches Justin Seithel Liz Shekhterman-Baklar Stephen Smart Ashley Spear

LIGHTING SHOP FOREMAN

Parker Battle LIGHTING SHOP STAFF

Frankie Stiehl-Guerra Joey Todd

DIRECTOR OF DANCE COSTUMES WARDROBE SUPERVISOR

Juli Reed

Marissa McCullough

CONSTRUCTION COORDINATOR

ADDITIONAL COSTUME DESIGNERS

Tim Kottyan

Kathryn Grillo Marissa McCullough

Sarah Loveland

DRAPER AND COSTUME ARTISANS

Mark Jabourian

Kaitlin Farrah Smith Kelsey Burns

VISUAL EFFECTS/ANIMATION

TECHNICAL DESIGN FACULTY ADVISER

TRUCKING AND LOGISTICS

Mac McClary Jake Frizzelle George Meltzer Eric Hill

Zak Stevenson COMPUTER NUMERICAL CONTROL OPERATOR

Jack Giampolo

LIGHTING DESIGN FACULTY ADVISERS

Clifton Taylor Josh Selander Eric Rimes

LEAD SCENIC FLOOR CAPTAINS

Catelynn Adams Isabella Tapia SCENIC FLOOR

TECHNICAL OPERATIONS

Craig LaVenture Bob Massa

PRODUCTION DESIGNER: “LAND OF SWEETS”

HEAD OF PRODUCTION

Stephanie Colopy LOCATION MANAGER

Madeleine Louviere Kate Baxter Devyn Tibbals Sarah Grover PRODUCTION DESIGN FACULTY ADVISER

Ida Sessions

Burton Rencher

PROPERTIES DIRECTOR

SCENIC DESIGN FACULTY ADVISER

WORK STUDY STITCHERS

SCENIC LEAD PAINTER

Molly Stevens

Amanda Wils

E. “Tommy” Thomas Mahalet Andargachew Megan DeVolder Nat Carreiro Becca Morgan Natalie Carney Brooke Downing Valerie Bashford Olivia Miller Anna Bowdish Grace DiMaio Audrey Harms Sarah Hayes Mak Jordan Anna Baldwin Gabe Weis STAGE PROPERTIES FACULTY ADVISER

SCENIC PAINT FACULTY ADVISERS

Kris Julio PRODUCTION DESIGNER: “CLARA’S BEDROOM,” “DROSSELMEYER’S WORKSHOP” AND “PARKING LOT”

Bailey Heppler PRODUCTION DESIGNER: “STAIRCASE,” “LIVING ROOM” AND “MOUSE BATTLE”

Lydia Watt PRODUCTION DESIGNER: “LAND OF SNOW”

Melissa Owens Smith

Mei He BEHIND-THE-SCENES VIDEO

WIG AND MAKEUP DESIGNER

LEAD PROPERTIES ARTISAN

Grace Anne Miles Johanna Fleischer Gabby Nuñez Lauren Eckard McKenna Farlow Leo Murphy Spencer Kilpatrick Jasmine Hernandez Olivia Venable Carson Davis Renae Losee Abrianna Harmon Izzie Miller Rachel Williams Clara Rimes Emma Smith Anah Galinski

PRODUCTION COORDINATOR

Carolyn Fay

Kendall Meyers Allison Sorkin

PROPERTIES ARTISANS

Derek Cernak Keith Hobgood Rebecca Jones Danny Oakley

WARDROBE VOLUNTEER

ASSISTANT WIG AND MAKEUP DESIGNER

ADDITIONAL VISUAL EFFECTS ARTISTS

Savannah Dobbs Katie Drozd Abigail Herron Marquita Horton Santina Leone Emma Smith

Tess Crabtree

SCENIC PAINTERS

Asa Gordon Dante Armstrong

Abigail Herron

SCENIC CHARGE PAINTER

Riley Lange

VISUAL EFFECTS UNREAL ENGINE TECHNICAL ARTISTS

WARDROBE ASSISTANT

ASSISTANT PROPERTIES DIRECTORS

VISUAL EFFECTS DIGITAL ENVIRONMENT ARTIST

Out of Our Minds Animation Studios

Maureen Wynne

Eduardo Sicangco

Bob Keen

VISUAL EFFECTS ART DIRECTOR

STITCHER

Jennings Leonard

VISUAL EFFECTS SUPERVISOR

Natosha Martin

Adam Witmer COVID-19 COMPLIANCE OFFICER

Heather Lathrop NARRATION EDIT

Autumn Karen

WIG AND MAKEUP RUN CREW

Hallie Moore Madison Pattillo Whitney Cline Nova Cunningham Faith Gilbert Saoirse Keegan Cayla Mahome Kendall Brumley Syuan Zeng Nathaniel Jones JoAnn Battat

SOUND DESIGNER

Olivia Moore SOUND EDITORS

Abby Meaux Isaac Kuruvilla Balachandran Nigel Scott FOLEY EDITOR

Nicholas Benik FOLEY ARTIST

Daniel Christie

WIG AND MAKEUP FACULTY ADVISER

Elisa Acevedo Rodgers

AUDIO PLAYBACK

Helen Moreau TRANSPORTATION CAPTAIN

EDITING AND SOUND FACULTY ADVISER

Trevor Gilman

Clint Smith

CRAFT SERVICE

Jack Hansen

Weddings, Parties, Anything LLC

Patti Mondana Susan Crabtree

POSTPRODUCTION COORDINATOR

CATERING

Nigel Scott

Zoë’s Kitchen

LEAD STORY ARTIST

ASSISTANT EDITORS

Leevie Maverick STORY ARTISTS

Abby Davenport Vianelli DeLeon Kasey Lewis Christi Neptune

POSTPRODUCTION SUPERVISOR

Mariah Manning Sam Lemme Daniel Christie Conor Callahan COLORIST

Andrew Mirmanesh

IATSE LOCAL UNION 635 STEWARD

Paul Valoris LIGHTING EQUIPMENT PROVIDED BY

4 Wall

UNCSA SYMPHONY ORCHESTRA UNCSA INTERIM DEAN OF MUSIC

VIOLA

CLARINET

HARP

Saxton Rose

Marija Seselgyte, Principal Dawson Yow Jui-Fan Lin

Mya Gibson, Principal Trent Smart Ramiro Soto (Bass)

Connor May Kelly, Principal

CELLO

BASSOON

GUEST CONDUCTOR

Karin Hendrickson MUSIC EDITOR AND MUSIC ENGINEER

Chris Heckman ASSISTANT MUSIC ENGINEER

Tyler Hawes VIOLIN

Marta Đjorović, Concertmaster Bella Ward,

Sam Mihavetz, Principal Jake Anderson Johanna Di Norcia DOUBLE BASS

Emery Wegh, Principal Zane Hollomon

Winfred Felton, Principal Brianna Cantwell HORN

Logan Fischer, Principal Bruce Brewster Aiden McCoy Gray Smiley

Associate Concertmaster

FLUTE

Madison Lee,

Ricardo Gil, Principal Emily Osbourne Jaron Deming (Piccolo)

TRUMPET

OBOE

TROMBONE

Assistant Concertmaster

Ruth Kelley, Principal Second Ashley Abraham Sophie Anderson Laurence Brooke Kennedy Graves Roni Shitrit

Kayla Bull, Principal Kaylin McClafferty Rebecca Chadwick (English Horn)

Tyler Stephenson, Principal Zoe Mark Devin Cawley, Principal Jonah McKee Darien Baldwin (Bass) TUBA

CELESTA

Arianna Bohning, Principal PERCUSSION

Benjamin Burson Austin Martin Dante Thomas ENSEMBLES STAFF

Mark A. Norman,

Director of Instrumental Ensembles

Ken Wilmot,

Director of Artistic Operations WINSTON-SALEM YOUTH CHORUS

Dr. Sonja Sepulveda, Conductor John Mmanywa, Alto Melyn Piper, Alto Alisyn Ronk, Alto Anna Ronk, Soprano Madisyn Todd, Soprano Melissanthi Guthold, Soprano

Avery Greene, Principal

Clara (Emma Cilke) and the Nutcracker Prince (Julian Pecoraro) prepare for the Land of the Sweets scene. Dance faculty Ilya Kozadayev and camera operator Mitch Brinker line up the shot.

Thank you to our sponsors and friends!

ANGEL SPONSOR

Friends of UNCSA PLATINUM SPONSOR

Mary Duke Biddle Foundation Malcolm and Patty Brown GOLD SPONSOR

Thomas S. Kenan, III SILVER SPONSORS

Blanco Tackabery

Flow Companies

Truist Financial

BRONZE SPONSORS

Shelby and Lee Chaden Grayson Natural Farms

Windsor Jewelers, Rob and Kristin Simon

Womble Bond Dickinson (US) LLP

FRIENDS OF THE SUGAR PLUM FAIRY

Anonymous

Kay and Dan Donahue

Arbor Acres

in loving memory of Jack Curlett

Winborne and Chan Chandler

Michael and Rita Macfee

Dave and Susan DeRamus

Bonnie and Tim Payne

Wake Forest Baptist Health Sports Medicine Ralph Womble and Ashley Edwards

FRIENDS OF CLARA

Geoffrey and Erin Edge

Our State Magazine

Trouvaille Home

Rosemary Harris Ehle

Salemtowne

Winston-Salem Journal

FRIENDS OF THE NUTCRACKER PRINCE

The Alexander Family

Phyllis Dunning

Steve and Anne Sessions

Arbor Investment Advisors

Lynn and Barry Eisenberg

Frank L. Sibr

Mindy and Art Bloom

Mick and Tanya Gunter

Summit School

Chris Chapman and

Joan and Tim Kenzler

Mary Lynn and John Wigodsky

Mary Blackwell-Chapman

Mark, Zelle and Wilson Land

Erna and Bill Womble, Jr.

Shayne Doty

Jim and Mary Allen Martin

Celebrating a holiday tradition – Reimagined!

Womble Bond Dickinson is proud to support this year’s virtual presentation of The Nutcracker!

We look forward to enjoying the show at home!

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©2020 Womble Bond Dickinson (US) LLP

©2020 Womble Bond Dickinson (US) LLP “Womble Bond Dickinson,” the “law firm” or the “firm” refers to the network of member firms of Womble Bond Dickinson (International) Limited, consisting of Womble Bond Dickinson (UK) LLP and Womble Bond Dickinson (US) LLP. Each of Womble Bond Dickinson (UK) LLP and Womble Bond Dickinson (US) LLP is a separate legal entity operating as an independent law firm. Womble Bond Dickinson (International) Limited does not practice law. Please see www.womblebonddickinson.com/us/legal-notices for further details.

Caroline Credle in the Chocolate dance.

All the schools involved in “The Nutcracker” adopted industry COVID-19 safety standards to keep cast and crew healthy and safe, from socially distant performances by dancers and musicians, to health and safety protocols for filming and postproduction, to incorporating face coverings into costumes.

This is the first time many of the students involved will actually be able to see “The Nutcracker.” The musicians are typically in the pit playing and the dancers are on stage.

The Art

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Because living well is one thing, but living with purpose and passion, among friends in a rare and picturesque setting—this is life in all its shining brilliance. Arbor Acres is forever in a state of becoming— a place where creativity shines, where generosity thrives, where the art of living blooms.

For more information on Aldersgate Square and other independent living options, please call (336) 724-7921.

Arbor Acres is a Continuing Care Retirement Community affiliated with the Western NC Conference of the United Methodist Church. arboracres.org • 1240 Arbor Road, Winston-Salem, NC 27104

Proud Supporter of The UNCSA “Nutcracker”

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This year, the Sugar Plum Fairy is accompanied by some new characters during her dance, called Sugar Plum Attendants.

Dance faculty member Ilya Kozadayev created all-new choreography for this “Nutcracker,” specifically suited for film with an eye toward angles only possible on screen — such as the overhead shots.

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Visual effects created by the nationally ranked School of Filmmaking bring the cinematic retelling of “The Nutcracker” to life by creating a magical world only possible on the screen.

This year features a new costume for the Nutcracker Prince himself, the head of which belongs to Interim Dean Jared Redick of the School of Dance, from a time when he personally performed the role at Boston Ballet.

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WINSTON-SALEM • GREENSBORO • ASHEVILLE • BURLINGTON • DURHAM • FAYETTEVILLE • STATESVILLE • WILMINGTON • CHARLOTTESVILLE, VA

Headlining the student cast is Eleanor Broughton as the Sugar Plum Fairy.

A high school junior, Broughton was recently accepted to the Prix de Lausanne 2021, a prestigious international ballet competition for dancers aged 14–19.

UNCSA alumnus Anthony Santos (B.F.A. Dance ’17) of Dance Theatre of Harlem performs the newly expanded role of the magical Drosselmeyer. During his time as an undergraduate, Santos was one of the only contemporary dance students to be a cast member of “The Nutcracker.”

“The Nutcracker” Visual Effects Supervisor Bob Keen (center) is currently the director of visual effects and immersive media in the School of Filmmaking and has decades of experience in the industry. His credits include “The Never Ending Story,” “Star Wars: Episode IV - A New Hope,” “Star Wars: Episode VI - Return of the Jedi,” “Superman,” “Candyman” and many more.

“The Nutcracker” Director of Photography Thomas Ackerman, ASC (far left) is currently a cinematography faculty member in the School of Filmmaking and has decades of experience in the industry. His director of photography credits include “Beetlejuice,” “National Lampoon’s Christmas Vacation,” “Dennis the Menace,” “Anchorman: The Legend of Ron Burgundy” and many more.

Happy Holidays!

Gabriel Weis

Design & Production ’22

Sofia Johnson Dance ’23

Interior Design ∙ Fine Furnishings Accessories ∙ Fabric 938 Burke Street ∙ Winston-Salem, NC 27101 336-245-8965

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“The future belongs to those who believe in the beauty of their dreams.”

— Eleanor Roosevelt We love you, Sofia & can’t wait to see the Nutcracker. Love, Mom, Dad & Isabella

Dancers were filmed in small groups on the largest film soundstage at UNCSA to allow for social distancing and prioritizing the health and safety of cast and crew.

Possibility Solver • a Mathematician olt • an T ea ch er ho t sc en is nd rt pe A de an in • l e, ia iv ss nt re te Po og • Pr A m en ta li st Environ rs ne arto leva Horticulturist a of • r ity un m m no co In a an ng • iri r sp ee in on a Farmer • a Pi raride h Gte na. ri an • a Baker reeerto• 9t thch Ve e ea a ag om fr T a • st ti en aD rchitect • a Nurse A an • r ye w La a • or nt ve In • a Doctor or ct A an • r eu en pr re nt E Author • an Artist • a Problem an • r ne ig es D a • r ee in ng Chef • a E eer l an Environmentalist • Pion an Author • an Innovator • eacher a Citizen • a Inventor • a T • a Nurse Chloe Milling

• an am I or nt Inve Dance ’23 torthe most wonderful oc D A • or ct A n A • r eu en It’s time of the year An Author An Entrepr Nutcracker time! Thank you UNCSA for a Designer • i am Artist keeping the tradition going, y even during a global pandemic! it il Possib With gratitude, The Milling Family 336.722.2777 AD• •an 2100 REYNOLDA RO .COM OLon ITSC eer a Pi • HO mer arMM a FSU a Dentist a Teacher

May your spirits be bright this holiday season.

It’s the most joyous time of year at Salemtowne as we celebrate the Moravian spirit of Christmas. Meaningful holiday traditions warm the hearts of residents throughout our community. In the coming year, we invite you to visit Salemtowne and learn more about a future at our special community.

190 MORAVIAN WAY DRIVE

Warmest Wishes

F R O M SA L E M TOW N E

Unlike a stage production, audiences will be able to see the many details of the elaborate costumes created specifically for this production. The Dance Costume Shop created customized masks that coordinate with each costume and include an inner structure and nose wire that allow dancers to breathe more easily.

WINSTON-SALEM, NC 27106 SALEMTOWNE.ORG ¡ 336.714.2157 Salemtowne is a nonprofit, Life Plan Community that provides the highest standards and options for seniors at all stages.

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The strongest relationships are rooted in trust.

Keira F. Holland Dance ’21

Although this year has been challenging, you remained positive and continued to work hard. Congratulations on being a Flower in the UNCSA “Nutcracker.”

Follow your dreams.

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The UNCSA Symphony Orchestra recorded an abridged version of Tchaikovsky’s iconic score on UNCSA’s film scoring stage in “striped” sections — meaning each section (woodwinds, brass, percussion, strings) was recorded separately.

Bassoonists Winfred Felton and Brianna Cantwell are pictured.

care for life

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For whatever stage you’re at — or on — our nationally renowned care will keep you on the move, with 25 orthopaedic locations throughout northwest North Carolina. Same-day and next-day appointments, Saturday hours and walk-ins are welcome at select locations.

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Helen Moreau, the production stage manager, ran sound. Her depth of knowledge of the choreography and music was vital for the production process.

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Start a new tradition with the sweetest gift: a subscription to Our State magazine. ourstate.com Drosselmeyer has a more colorful costume compared to past productions. The buttons on his vest are identical to those of the previous Drosselmeyer costume, connecting the two.

Choreographer Ilya Kozadayev worked with Hendrickson to make the cuts to the score that fit the all-new choreography, while maintaining the classic music and story.

The ballet, typically around 1.5 hours, is 30 minutes in this world premiere version for film.

Holiday Joy !

...in grateful celebration of all at the University of North Carolina School of the Arts who make the world a more beautiful and exciting place!

Gray Smiley Music ’21

Well done Gray! We are all so proud!

Love, Mom, Dad, Andie, Candy and Oma EWomble@ClearlyBespokeInc.com BWomble@ClearlyBespokeInc.com

380-H Knollwood Street #273 Winston-Salem, NC 27103 ClearlyBespokeInc.com

Karin Hendrickson returned for a third consecutive year to conduct for UNCSA. Hendrickson self-isolated for 14 days after arriving from the U.K. and before beginning work with the student musicians.

Each mouse costume has a unique identifier that informs their individual character (a pair of glasses, a chip out of the ear, etc.). Typically dancers playing mice from one year to the next will play the same mouse character year after year.

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The Nutcracker: PO W E R E D BY YO U Reimagining a holiday tradition for a new era takes innovative thinking, determination and collaboration.

It also takes support. You can help us educate dedicated artists who are prepared to achieve their dreams, no matter what.

Power innovation. Power resilience. Power creativity.

www.uncsa.edu/giving