UNCSA 2022 "The Nutcracker" Event Program

Celebrating a Holiday Tradition

UNIVERSITY OF NORTH CAROLINA SCHOOL OF THE ARTS

BRIAN COLE Chancellor

THE NUTCRACKER A BALLET IN TWO ACTS

Music by PYOTR ILYICH TCHAIKOVSKY

Choreographed and Directed by ILYA KOZADAYEV

Assistant Director LAURA MARTIN

Répétiteurs DAYNA FOX, LAURA MARTIN, JARED REDICK, ANGELINA SANSONE, MIKHAIL TCHOUPAKOV, JENNET ZERBE

Guest Lighting Designer PENNY JACOBUS

Production Stage Manager VICTORIA COULTER

Guest Conductor JIANNAN CHENG

Dean, School of Dance ENDALYN T. OUTLAW Dean, School of Design & Production MICHAEL KELLEY Dean, School of Music SAXTON ROSE

Featuring THE UNCSA SYMPHONY ORCHESTRA

DECEMBER 9–18, 2022 STEVENS CENTER

Presented by

WELCOME

DEAR FRIENDS,

The holiday season is a magical time! Families, friends and loved ones gather in observation and celebration of timehonored traditions. It is with excitement that I welcome you to what has become a treasured tradition here in WinstonSalem — the production of the UNCSA “Nutcracker” 2022.

With the return of the complete score, a fully realized Party Scene and everyone’s favorite matriarch — Mother Ginger — this year’s “Nutcracker” promises to fill your hearts with joy and have visions of sugarplums dancing in your head.

This year’s production will include every student from the School of Dance ballet program, as well as students from the contemporary program; the School of Music; and the School of Design & Production. I speak for myself and our experienced faculty in expressing how fortunate we are to nurture and contribute to the development of these talented, gifted students.

It is through the collaborative efforts of UNCSA faculty, students, staff and administrators that a second to none, professional-caliber production is achieved time and time again.

Additionally, I want to welcome returning guest conductor Jiannan Cheng and guest lighting designer Penny Jacobus. They bring with them industry excellence and expertise and further elevate our “Nutcracker” to the highest level.

Lastly, I thank you for joining us and for making our “Nutcracker” a part of your own holiday traditions. We are encouraged by your smiles, laughter and appreciation of the performers as they pour their heart and souls into leaving it all on the stage.

Sincerely,

ENDALYN T. OUTLAW Dean, School of Dance

THE TALE OF THE NUTCRACKER

On Christmas Eve, in a small workshop, Drosselmeyer, a clockmaker by trade, is finishing crafting a magical Nutcracker doll with the help of their apprentice nephew. Meanwhile, the Silverhaus family is hosting its annual Christmas party, attended by friends and neighbors from its small Prussian community. The Silverhaus children, Clara and Fritz, are enjoying the holiday festivities of tree decorating and dancing when the family’s longtime friend, and Clara’s godparent, Drosselmeyer, arrives with an extraordinary surprise. Drosselmeyer has a parental fondness for Clara and wants nothing more than for her to have a wonderful and magical life. In the hopes that a connection might spark, Drosselmeyer brings their nephew to the party to meet Clara. At the height of the festivities, Drosselmeyer asks their nephew to present the newly crafted Nutcracker doll to Clara. Her brother, Fritz, becomes jealous and breaks the doll. Clara is distraught, but Drosselmeyer comforts her by repairing the broken doll, while casting a magic spell on the Nutcracker. Drosselmeyer tells Clara that the doll needs rest to recover.

As the party winds down and Clara and Drosselmeyer’s nephew say good night to each another, they sense a connection. Clara is sent to bed, but, unable to contain her excitement about her new gift, sneaks back into the living room and falls asleep on the couch, embracing the Nutcracker doll.

During the night, Clara awakes to attend to her Nutcracker. Suddenly, giant mice enter the living room and attack Clara and her Nutcracker doll! She is saved by the unexpected appearance of Drosselmeyer, who sets a magic spell into motion. The Nutcracker comes to life in the form of Drosselmeyer’s nephew, and he and Clara embark on a wondrous journey this Christmas Eve. Together, they brave the terrifying Mouse King and his gang of mice, witness magnificent beauty in the forest of the Snowflakes, and enjoy the warmth of spirit in the Sugar Plum Fairy and her Cavalier’s Kingdom in the Land of Sweets. The pair enjoy sweets with Chocolate, Coffee, Tea, Marzipan and a Trepak dance. They dance the Waltz of the Flowers with Dewdrop.

The story ends as the two adventurers depart the Land of Sweets after a grand finale, and Clara wakes up back in her living room, having fallen off the couch. As she finds her Nutcracker doll, Clara wonders if her journey was, in fact, a wonderful dream.

CREDITS

CHOREOGRAPHER AND DIRECTOR ILYA KOZADAYEV

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, the Houston Ballet and as a dancer with Boston Ballet. Kozadayev was a winner of the New York International Ballet Competition.

He began choreographing for Boston Ballet’s Raw Dance, and went on to create ballets for Houston Ballet’s choreographic showcase and 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 that Broadway World hailed as “nothing short of a masterpiece, an absolute triumph for the dancers and artistic team involved in its creation.” Kozadayev’s original choreography has been performed in the United States, Germany, Austria and France. He was a finalist in the National Choreographers Initiative. In 2019, his original choreography for UNCSA was performed at Lincoln Center for the Youth America Grand Prix gala. In 2020, Kozadayev codirected, wrote and choreographed a film version of “The Nutcracker” for UNCSA during the COVID-19 pandemic, collaborating with three other arts schools on campus in addition to the School of Dance. He went on to expand the 30-minute choreography for film into a full-length, two-act production for UNCSA in 2021. Prior to joining UNCSA in 2017, Kozadayev served as assistant professor of ballet at the University of Oklahoma School of Dance. He holds an M.F.A. from Jacksonville University.

GUEST CONDUCTOR JIANNAN CHENG

Jiannan Cheng made her European debut conducting and working with the Stuttgart Philharmonic, WDR Symphony Orchestra Cologne, Orchestra Giovanile Luigi Cherubini, and the Georgian Chamber Orchestra Ingolstadt. Cheng was a candidate for the 2017 German Conductors’ Award and second prizewinner of the 2016 4x4 Competition for Composers and Conductors. She was selected to study with world-renowned conductors Kurt Masur and Riccardo Muti and is regularly invited by Maestro Muti to serve as a cover conductor for the Chicago Symphony Orchestra. Other past positions include assistant conductor at Opernfestspiele Heidenheim in Germany and conducting fellow of the Cincinnati Symphony Orchestra and the Miami Symphony Orchestra. Cheng began her position as an assistant professor and director of orchestral activities at Rowan University in New Jersey in the fall of 2020. She is also a resident conductor at the Vienna Summer Music Festival and artistic director of the German Institute of Conducting. Previously, she was an adjunct professor in orchestral conducting at the Cincinnati College-Conservatory of Music, where she led orchestra performances and served as music director for the opera productions. Cheng completed her undergraduate studies at the China Conservatory of Music in Beijing. She earned her master’s degree from the University of Washington in Seattle, and is a Doctor of Musical Arts candidate in orchestral conducting at Cincinnati College-Conservatory of Music.

ASSISTANT DIRECTOR AND RÉPÉTITEUR LAURA MARTIN

Laura Martin has served on the faculty 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 supplemental training at the Joffrey School and the Chautauqua Institute. Martin went on to join the Washington Ballet, Miami City Ballet and American Ballet Theatre (ABT), where she danced the works of choreographers including George Balanchine, Antony Tudor, Agnes de Mille, Twyla Tharp, Paul Taylor and Martha 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 on ballet. In addition to assisting guest artists with the staging and rehearsing of ballets on campus, Martin has staged work internationally.

CREDITS

RÉPÉTITEUR DAYNA FOX

Dayna Fox received her early ballet training in Columbus, Ohio, at Ballet Met. She also studied with tap and jazz legends Luigi, Patricia Birch and Charles Kelly and at UNCSA under such illustrious teachers as the late Melissa Hayden and Duncan Noble. In 1977, Fox joined the North Carolina Dance Theater (NCDT) where she was a featured dancer through 1985. Under the direction of Robert Lindgren and Salvatore Aiello, NCDT performed an eclectic repertoire and toured extensively throughout the United States, Canada and Europe. In 1989, Fox was named director of UNCSA’s Preparatory Dance Program. During her 25-year tenure, she helped train hundreds of children for the School of Dance’s high school division, many of whom have gone on to have professional careers with dance companies across the U.S. and abroad. Fox became a guest instructor for the School of Dance in 1999, and in 2007 was hired to the fulltime ballet faculty, where she currently serves as an associate professor. Fox holds a B.F.A. from UNCSA, is an official répétiteur for the Salvatore Aiello Trust and serves as director for the Festival of North Carolina Dance. She has performed the roles of Mrs. Silverhaus and the Grandmother in the UNCSA production of “The Nutcracker” and has been a part of the rehearsal team since 2009.

RÉPÉTITEUR JARED REDICK

School of Dance Assistant Dean 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 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 Marius Petipa, John Cranko, George Balanchine, Jorma Elo, Jiří Kylián, William Forsythe, Antony Tudor, Sir Frederick Ashton and Twyla Tharp. Following his retirement from the stage in 2009, Redick has taught nationally and internationally at 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). For years, he served as director of the annual UNCSA stage production of “The Nutcracker,” named by Dance Teacher Magazine as one of the nation’s best productions of the holiday

classic. He had the honor and distinction of serving as interim dean of the School of Dance for the 2020–21 school year, and in 2022 was the receipt of both the prestigious Excellence in Teaching Award and the inaugural Academic Leadership Fellowship.

RÉPÉTITEUR ANGELINA SANSONE

Angelina Sansone began her formal ballet training with Charlotte City Ballet in North Carolina. At the age of 14, she left home to attend The Harid Conservatory in Florida on 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 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 wide-ranging 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 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 preprimary through five. In the following years, in addition to her teaching schedule, Sansone has staged multiple pieces and assisted in the creation of new works by Ilya Kozadayev, Stephanie Martinez and Gina Patterson.

RÉPÉTITEUR MIKHAIL TCHOUPAKOV

Born and raised in Moscow, Misha Tchoupakov performed with the Bolshoi Ballet there as well as with the Colorado Ballet, Sarasota Ballet of Florida, Los Angeles Classical Ballet, and San Francisco Opera Ballet in the USA and the Vienna State Opera Ballet in Austria. Tchoupakov was also on the faculty of the Royal Ballet School, the Elmhurst School for Dance in association with Birmingham Royal Ballet and the English National Ballet School in the U.K. He also served as an assistant professor at the University of Utah Department of Ballet. He has worked with the Youth America Grand Prix Ballet and Contemporary Dance Competition in New York as rehearsal director, judge and master teacher, and is an internationally renowned guest teacher, having taught in many top schools in the U.S. and abroad. He holds an M.F.A. in dance pedagogy and choreography from the Moscow State Academy of Choreography. He joined the faculty of the UNCSA School of Dance in 2013.

CREDITS

RÉPÉTITEUR JENNET ZERBE

Jennet Zerbe joined the UNCSA faculty in 2014. Her students have become professional dancers in American Ballet Theatre (ABT), Atlanta Ballet, Dance Theatre of Harlem, Northern Ballet, Pittsburgh Ballet Theatre and Sarasota Ballet, among others. Zerbe trained at The Royal Ballet School in London, where her graduation performance Odette in Act II of “Swan Lake,” garnered her an invitation to join American Ballet Theatre, where she danced for eight years under the direction of Mikhail Baryshnikov. After her professional career, Zerbe earned her B.A. from Wellesley College and became an ABT Certified Teacher at the launch of ABT’s National Training Curriculum. Zerbe is a strong advocate of the value of injury prevention: She presents lecture demonstrations annually at the Winston-Salem Dance Medicine Conference, Wake Forest University School of Medicine.

GUEST LIGHTING DESIGNER PENNY JACOBUS

Penny Jacobus is the former lighting director for the New York City Ballet (NYCB) and was with the company from 2000 to 2018. Additional credits include four world premiere designs for NYCB and designs for Christopher Wheeldon and the Morphoses Dance Company and for Tom Gold Dance. She has also assisted on several Broadway shows. Jacobus has lit dance internationally and was the American lighting supervisor for several Kirov Ballet tours in the U.S. She started her New York City lighting career as the Hemsley Lighting Intern at the New York City Opera. Jacobus holds a B.A. from the University of Wisconsin-Madison. “The Nutcracker” is her favorite holiday show and she is grateful for this opportunity to work with the students, faculty and staff at UNCSA.

SCENIC ELEMENTS HOWARD C. JONES

Howard Jones was the director of scene painting and a UNCSA faculty member from 1996 until he retired in 2017. Before that, he was one of the founders of Cobalt Studio, an apprentice painting studio in New York. He was recognized with the Elliott Norton Award in 2000 in Boston and in 2005 at the World Stage Design Expo. He has designed for the North Shore Music Theatre, Pittsburgh Civic Light Opera, Missouri Repertory Theatre, State Ballet of Missouri, Weston Playhouse, North Carolina Shakespeare Festival, American Heartland Theatre, Bay Street Theatre, Starlight Theatre, Goodspeed Opera, Royal Ballet New Zealand, Opera Romania in Bucharest, Triad Stage and the Coterie Theatre. He has designed several UNCSA shows, including “West Side Story, “Oklahoma!” and “She Loves Me.”

NEW COSTUME DESIGNS MARISSA MCCULLOUGH

Marissa McCullough is director of the Dance Costume Shop and resident costume designer for the School of Dance. In addition to new designs for this production and the 2020 “Nutcracker” film, she has designed for guest choreographers and faculty over the past eight years. Highlights include her designs for Ilya Kozadayev’s “Dream(s)pace,” “Harlequinade,” Stephanie Martinez’s “Wandering On” and Dayna Fox’s “Magnificat.” Before her work for UNCSA, McCullough was a member of the Wardrobe Department for American Ballet Theatre and The Metropolitan Opera, “Forbidden Broadway” and the “American Girl” musical. She holds a B.A. from Marymount Manhattan College.

COSTUME DESIGNS KATHRYN E. GRILLO

Kathryn Grillo, retired director of dance costume at UNCSA, was a costume designer/draper and adjunct faculty member since 1984 in the School of Design and Production and then in the School of Dance, which hired her in 1996 to create costumes for “The Nutcracker.” Her dance work at UNCSA includes designs for the ballets “Raymonda,” “Don Quixote,” “Rubies” and a number of other Balanchine works, as well as many contemporary pieces by established guest choreographers and UNCSA faculty. She created designs for the American Dance Festival, Carolina Ballet, North Carolina Dance Theatre, American Ballet Theatre Studio, Ballet Tennessee, Ballet Spartanburg and Duke University. From 1991 to 2012, she was the resident costume designer/coordinator for Piedmont Opera, originating designs for “Turandot,” “The Light in the Piazza,” “Les Contes d’Hoffmann,” “La bohème” and other works. She designed costumes for the Opera Theatre of St. Louis, Virginia Opera, Opera Tampa, North Carolina Shakespeare Festival and Wake Forest University and coordinated Opera Carolina’s costumes for four seasons. Grillo holds a B.A. from Cornell University and an M.F.A. in costume design from Carnegie Mellon University.

The Art of Belonging

THE ADVANTAGE PROGRAM

Lynn Spangler knows the next best thing to living at Arbor Acres—being there as much as possible. “The Advantage Program is just wonderful!” she says of our unique membership opportunity that allows seniors who live off campus to enjoy an array of amenities and benefits.

“My move to Winston-Salem has been enriching in so many ways. This city really does offer a variety of opportunities to experience different art forms and cultures that have enhanced my life since moving here and my relationship with the Arbor Acres community.”

Discover life in all its shining brilliance at Arbor Acres.

Arbor Acres is a Continuing Care Retirement Community affiliated with the Western NC Conference of the United Methodist Church.

1240 Arbor Road, Winston-Salem, NC 27104 arboracres.org • (336) 724-7921

CREATING A WORLD OF MAGIC AND DELIGHT

A HISTORY OF THE UNCSA “NUTCRACKER”

“The Nutcracker” has been performed annually since 1966. 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 (whose designs are on display for the first time as part of an exhibit at the Stevens Center this year).

“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, re-created and refreshed numerous times. 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 & 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. 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 & 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 Symphony Orchestra, composed of students from the School of Music, served as the production’s pit orchestra for the first time. The WinstonSalem 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 in “The Nutcracker.”

The year 2020 presented challenges like never before as UNCSA acclimated to limitations from the COVID-19 pandemic. The classic work was abridged and adapted/ choreographed specifically for film through a unique collaboration among the schools of Dance, Filmmaking, Music and Design & Production. That “Nutcracker” featured all-new choreography by faculty member Ilya Kozadayev while retaining favorite scenes and characters from the traditional stage production. Magical touches created through visual effects and animation brought the story to life for audiences worldwide. View the 30-minute film at uncsa.edu/nutcracker.

This year’s “Nutcracker” — choreographed by Kozadayev in 2021, and expanded this year to include the complete score, the boisterous Party Scene and the beloved Mother Ginger — is a reimagining of the original stage production. Clara and her Nutcracker Prince are front and center along with the Sugar Plum Fairy, Snowflakes and Flowers, as well as the showstopping Trepak. Constantly reinventing itself is 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 and entertainment industry.

THE FIRST “NUTCRACKER”

AN EXHIBIT OF COSTUMES AND SCENERY DESIGNED

BY CHRISTINA GIANNINI

When the North Carolina School of the Arts (NCSA) opened in 1965, A. Christina “Stia” Giannini was invited by her uncle, NCSA President Vittorio Giannini, to serve as the school’s first resident costumer. In addition to teaching courses in costume design, she created costumes and scenery for numerous dance, drama and opera productions at NCSA. When the school’s first production of “The Nutcracker” was staged in 1966, Christina Giannini created costumes to accompany sets rented from the Washington National Ballet. The following year, Giannini’s new scenery designs accompanied her original costumes, setting the stage for the beloved production. Over the following 30 years, while some costumes were adjusted and reworked, Giannini’s original costume designs brought “The Nutcracker” to life for Winston-Salem.

We invite you to view selections of Giannini’s original “Nutcracker” costume and scenery design drawings, part of her career-spanning collection held by the UNCSA Archives. The exhibit is open in the upper lobby of the Stevens Center before the show, during the intermission or after the show.

PRODUCTION STAFF

ASSISTANT DEAN, PRODUCTION

Eric Nottke

PRODUCTION ASSISTANT TO THE ASSISTANT DEAN

Seavor M. Roach

ADMINISTRATIVE ASSISTANT TO THE ASSISTANT DEAN

Emma Matusovich

COMPANY MANAGER

Omar Sosa

ASSISTANT COMPANY MANAGER

Quinn Mishra

PRODUCTION STAGE MANAGER

Victoria Coulter

STAGE MANAGER

Chloe Lupini

Jess Maida

PRODUCTION ASSISTANT

Trey Mazza

Nikki Hyde

LIGHTING DESIGNER

Penny Jacobus

ASSOCIATE LIGHTING DESIGNER

Stephen Smart

Trevor Kirschenheiter

Liz Shekhterman-Baklar

Rocco Turano

Joey Todd

Lexi Roth

Rocco Turano

DECK ELECTRICIANS

Jade Caric

Isaiah Gray

Arden Jakubovic

Aidan Piontak

Cameron Toler

Noah Welby

LIGHTING LOAD IN AND LOAD OUT CREW

Andrew Beauregard

Jade Caric

Isaiah Gray

Arden Jakubovic

Jake Jordan

Bill Nowlin

Emma Perch

Aidan Piontak

Harrison Reid

Lexi Roth

Stephen Smart

Cameron Toler

Noah Welby

LIGHTING SHOP FOREMAN

Harrison Reid

LIGHTING SHOP STAFF

Rocco Turano

Nicolle Logenberger

Isabel Ebert

LIGHTING DESIGN & TECHNOLOGY

FACULTY ADVISERS

Eric Rimes Clifton Taylor

PROPERTIES DIRECTOR

Grace DiMaio

ASSISTANT PROPERTIES DIRECTORS

Mak Jordan Marlowe Omilian

PROPERTIES ARTISANS

Mahalet Andargachew

Henry Beard

Anna Casino

Renee Chasey

Megan DeVolder Brady Flock Willow Macivor Griffin O’Connor

Kay Raff

Alexandra Rousseau

Emma Smith

Ross Stephens

Emma “Tommy” Thomas

Felix Thompson

Crosby Wood

PROPERTIES RUN CREW

Dani Austin Aissata Alou

STAGE PROPERTIES FACULTY ADVISER

Kris Julio

TECHNICAL DIRECTION FACULTY ADVISER Bill Volz

STAGE AUTOMATION OPERATOR

Nomi Frank

STAGE AUTOMATION CREW

Jack DeLorenzo

Kaci Kidder

Hannah Stecklein Van Wei

STAGE AUTOMATION FACULTY ADVISER

Scott Beckwith

LEAD TOUCH UP ARTISAN

Katie Pulling

SCENIC ARTISAN FACULTY ADVISER

Susan Crabtree

DANCE COSTUME SHOP DIRECTOR AND WARDROBE SUPERVISOR

Marissa McCullough

ASSISTANT WARDROBE SUPERVISOR

Jenna Anderson

WARDROBE CREW

AJ Helms

Josephine D’Arcy

AnnaLee Sibley

COSTUME SHOP DRAPERS/FIRST HANDS

Kelsey Burns

Robin Ankerich

STITCHERS

Sarah Horvath

BreAnne Servoss

COSTUME SHOP WORK-STUDY

Marquita Horton

Santina Leone

AJ Helms

COSTUME SHOP VOLUNTEERS

Carolyn Fay

Kathy Grillo

WIG AND MAKEUP DESIGNER

Teagan Hamel

ASSISTANT WIG AND MAKEUP DESIGNER

Bo King

WIG AND MAKEUP RUN CREW

Victoria Ashmore Hope Medwin

WIG AND MAKEUP SHOP MANAGER

Elisa Stroud

ASSISTANT WIG AND MAKEUP SHOP MANAGER Teagan Hamel

WIG AND MAKEUP FACULTY ADVISER

Christal Schanes

SCENERY RUN CREW

Eli Dills

Christopher Lopez

Cal Martine Max Vincent

SCENERY LOAD IN AND LOAD OUT CREW

Emmy Babyak

Mel Davis Chai Freedman

Patrick Hearn Ryan Lasich

Tyler McKinnon

Cameron Russell Graham Savage Jake Wales Emily Weinberger Desmond Wood

UNCSA SYMPHONY ORCHESTRA

UNCSA DEAN OF MUSIC

Saxton Rose

GUEST CONDUCTOR

Jiannan Cheng

VIOLIN

Austin Zhong, Concertmaster

Ellie Dixon, Associate Concertmaster

Ruth Kelley, Assistant Concertmaster

Sebastian Leczky, Principal Second Nicolas Williams, Assistant Principal Second Sophie Anderson Kennedy Graves

Sara Placious

Matthias Semrau

Austen Speare

Nathan Thomeer

Julian Walther

Clara Weigele Daisy Zhou

VIOLA

Dawson Yow, Principal Amanda Harrell, Associate Principal Yujie Wang, Assistant Principal Joshua Forbes

CELLO

Sam Mihavetz, Principal Elijah White, Assistant Principal Jake Anderson

Sam Tripp

DOUBLE BASS

Zane Hollomon, Principal Aaron Lawton, Assistant Principal

PICCOLO

Kayla Cieslak, Principal

FLUTE

Ivan Felipe Muñoz Vargas, Principal Bo Boisen

OBOE

Eliza Geer, Principal Ger Vang

ENGLISH HORN

Kaylin McClafferty, Principal

CLARINET

Ruslan Usaev, Principal Harley Hicks

BASS CLARINET

Mya Gibson, Principal

BASSOON

Tristen Craven, Principal Baron Thor Young

HORN

Alex Partridge/Elijah Barclift, Co-Principal

Ethan Mash

Myles Moore

Ryan Mash

Hayden Abercrombie (assistant)

TRUMPET

Emily Mudra, Principal Alex Penaloza

TROMBONE

Chase Thornhill, Principal Elijah Van Camp-Goh

BASS TROMBONE

Thomas Holladay-Munoz, Principal

TUBA

Avery Greene, Principal

HARP

Lucy Hester, Principal

CELESTA Clara Passmore, Principal

TIMPANI Dante’ Thomas

PERCUSSION (seating rotates)

Michael Cornwell

Thompson Jones Garrett Strauss

ENSEMBLES FACULTY/STAFF

Mark Norman, Director of Instrumental Ensembles

Ken Wilmot, Director of Artistic Operations

ENSEMBLES PRODUCTION/OPERATIONS GRADUATE ASSISTANTS

Tristen Craven

Sam Natvig

Jose Olea Vico Carlotta Wareham

ENSEMBLES LIBRARY GRADUATE ASSISTANTS

Lauren Davies Clara Ruiz Medina

PIEDMONT YOUTH CHORUS

Patrick Schell, Artistic Director  Susan Orgain, Pianist

Ollie Andree Bowen

Victoria Babilonia

Cody Baker

Serenity Crowell

Christian Del Campo

Valerie Del Campo

Cady B Dunn

Elanor Huneycutt

Esther Irwin-Smiler

Damian Macansela

Abigail Munster

Alani Nichols

Johann Pate

Alexander Prado

Finn Purdy

Layla Saunders

Daniella Tello

Aubrielle Tiju

Masha Vorobieva Stella Wadford

Callie Watson

PHOTOGRAPHY

Peter J. Mueller

Andy Tennille Raunak Kapoor

Original 1966 costume and scene design renderings by Christina Giannini

Teaching the new ballet choreography in 2021 involved 378 hours of rehearsal time for the dancers. An additional 60 hours of technical and dress rehearsals were held in the theater to get “The Nutcracker” ready for performance.

UNCSA offers year-round community programs for students of all ages. In many cases, no previous experience is required — just a love for or interest in the arts.

The Community Music School offers private or group music lessons for students from ages 3 to 99.

Preparatory Dance offers aspiring young dancers ages 3 to 14 the chance to develop a number of dance styles and techniques.

Acting Out! offers classes in Acting, Musical Theater, Tap, Hip-Hop, African Dance and Musical Theater/Jazz Dance, as well as private voice and tap instruction from the award-winning UNCSA School of Drama.

when the show must go on

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- and next-day appointments, Saturday hours and walk-ins are welcome at select locations.

Proud to serve as official provider for performers at the UNC School of the Arts.

The Stevens Center opened in 1929 and was originally known as The Carolina Theatre. At that time, it housed a silent movie theater, coffee shop and hotel.

At the time of its opening, The Carolina Theatre was the largest theater between Atlanta and Washington, D.C.

Where Sugarplums’ Dreams Become Real

At Salem Academy, young women can fulfill their dreams and become the next generation of leaders in STEAM.

Salem Academy is uniquely positioned to equip girls for lifelong success by offering a STEAM-focused learning environment, dual enrollment opportunities at Salem College and wellness support.

Care for the Professional Voice

131 Miller St., 2nd Floor | Winston-Salem

The professional voice requires expert understanding and specialized care.

At the Atrium Health Wake Forest Baptist Voice and Swallowing Center, we are the Triad’s only multidisciplinary Voice Center providing state-of-the-art diagnostics, evaluation, and treatment of the professional voice.

Our team consists of two fellowship-trained laryngologists (ENT physicians) who solely treat voice, upper airway & swallowing disorders, along with speech-language pathologists specializing in voice (speech and singing).

We are pleased to announce our partnership with UNCSA, promoting students’ vocal wellness by providing vocal health screenings, educational outreach programs, same-day in-office consultations for vocal health emergencies, and individualized treatment plans for optimal vocal recovery.

Our team understands the importance of your voice and its vital role in your livelihood, your identity, and your artistic integrity. We don’t just treat the voice - we treat the person behind the voice.

Tchaikovsky was the first major composer to write for the celesta in a work for full symphony orchestra. The celesta is used to create the magical moment of “The Dance of the Sugar Plum Fairy.” The instrument was invented in 1886 and the music for “The Nutcracker” was composed in 1892.

The snow that falls during the Snow Scene is made from white, translucent plastic cut into several different sizes. Each performance requires 50 pounds, which is cleaned and reused.

Academy of Dance Arts

The Christmas tree is illuminated by a custom LED system designed and built by students. Over 300 individual, wirelessly controlled RGB pixels are used to create the flames and the twinkling lights. Forty-five painted ornaments, ranging in size from 3 inches to 16 inches, add to the beauty.

There are approximately 90 students per cast, per performance of “The Nutcracker” in 2022 — the largest cast ever.

Established

Claire Kretzschmar

Former NYCB Soloist Academy of Dance Arts &

Released on demand on Dec. 17, 2020, the UNCSA cinematic version of “The Nutcracker” — in lieu of an in-person production due to the pandemic — has been viewed more than 121,000 times worldwide. Thus far, it has been viewed 65,757 times online on the UNCSA website and social media channels. A partnership with PBS North Carolina increased the reach within North Carolina, where the ballet was seen by 52,100 viewers across the state, as well as an additional 3,595 viewers through streams on the station’s digital platforms. View the 30-minute film at uncsa.edu/nutcracker.

526 S STRATFORD ROAD, WINSTON-SALEM | WINDSOR-JEWELERS.COM | PHILLIPS PLACE, CHARLOTTE FINE DESIGNER JEWELRY, SWISS TIMEPIECES, DIAMONDS & CUSTOM DESIGN | FAMILY-OWNED SINCE 1986

Twelve Days of Christmas Music

Wednesday, December 14thSunday, December 25th

Twenty new Snowflake costumes were made in 2021. Calculations reveal that the old costumes had been worn by more than 1,000 dancers.

Holiday Wishes

from Our Family to Yours

For more than 50 years, Mercedes-Benz of Winston-Salem, family owned and operated, has been a proud supporter of the local arts. mbwinstonsalem.com

Proud to Present the 2022 UNCSA Nutcracker