©
The George Balanchine Trust
featuring George Balanchine’s iconic Serenade
©
Director’s note
Welcome to Utah Ballet and Contemporary Works.
We are proud to present this concert featuring George Balanchine’s iconic Serenade as well as three contemporary works, two of them premieres. The evening features all of our resources magnified to the maximum including costume, sound, video and lighting design elements and showcases intrepid dancers from across the School of Dance.
We start the evening with my own Bring it on Home (2012) with music from Led Zeppelin. The work is anchored in the minimalist movement tradition of Laura Dean, where movement phrases are manipulated in time and space to highlight the individuality of each performer. The cameras at the front of the stage allow software to react to the dancers’ movement, which creates the video imagery on the screen or loops the video directly into the projections. The movement is specifically designed for the dancers to explore the ballet concept of “épaulement” (shouldering)—and to connect to their inner rocker!
Next on the program is Christine McMillan’s In the Theater of Air. Originating from Mary Oliver’s poem “Starlings in Winter,” the piece is inspired by starling murmurations and reflections on what ballet movement
might look like as inspired by birds, but outside traditional ballet contexts such as Swan Lake.
Ashley Jian Thomson’s Elemental Alignment is a fantasy space opera inspired by miHoYo’s “Genshin Impact” video game. Through the collaboration of art, dance, and song, this piece immerses the artists and audience in a scenic wonderland. Inimitable props and video images created by an impressive slate of collaborators are singular features of this work.
Serenade, staged by Michele Gifford of Ballet West and rehearsed by Maggie Wright Tesch, is considered a milestone in American dance. Balanchine first choreographed the ballet on The School of American Ballet in 1934 and it remains a staple in the New York City Ballet repertoire as well as companies worldwide. The sweeping music of Tchaikovsky was the largest inspiration for this iconic masterpiece. Enjoy this rare treat for our community!
And finally, our School was saddened to hear of the recent passing of Distinguished Professor Emeritus Bené Arnold who served in the previous Ballet Department from 1970 – 2010. Our performance is dedicated to this extraordinary grand dame and legacy champion of Utah dance.
- Luc Vanier, Concert Director
These performances are dedicated to Distinguished Professor Emeritus
1936-2024
Learn more about her legacy here.
Bené Arnold
LanD acknowLeDgment University of Utah
We acknowledge that this land, which is named for the Ute Tribe, is the traditional and ancestral homeland of the Shoshone, Paiute, Goshute, and Ute Tribes. The University of Utah recognizes and respects the enduring relationship that exists between many Indigenous peoples and their traditional homelands. We respect the sovereign relationship between tribes, states, and the federal government, and we affirm the University of Utah’s commitment to a partnership with Native Nations and Urban Indian communities through research, education, and community outreach activities.
PRogRam
Bring it on home (2012)
Choreography +
Video Interactions and Projection Design: Luc Vanier
Music: Lighting Design: Led Zeppelin Emily Bertelli
Costume Design:
Projection Tech:
Christopher Larson Benjamin Sandberg
Cast:
Mackenna Bonner, Melia Cook, Lucy Flaming, Anette Garcia, Hailey Jackson, Lindsey Larsen, Kendall MacMillan, Lucia Navarro, Natalee Russell, Esther Simmons, and Paige Smith.
Program Note:
Special thanks to the Troikatronix Isadora software team for their continued work in the field of interactivity for dance performance. Thanks also go to the original cast of the work who tirelessly danced the material through various incarnations – you know who you are! Finally, thank you to the whole production crew for their help in making time for the technology to work, either by providing support in time and space or just plain patience in the face of something new.
in the theater of air
Choreography:
Christine McMillan, with contributions from the dancers
Music:
René Aubry, Boris Kovac, Rachel Grimes, Hidden Orchestra, Hauschka
Lighting Design: Costume Design
Emily Bertelli Christopher Larson
Sound Editing:
Benjamin Sandberg
Cast:
2/22, 2/23, 3/2:
Brooke Baldwin, Emilie Bishop, Loren Khan
2/24, 2/29, 3/1:
Tally Ballas, Meleah Paishon, Annalea Stocking
All Dates:
Abby Barber, Meshayla Gardinier, Ellie Germaine, Sophia Kourtoglou, Lydia Morris, Eva Thompson
Duet Casting:
• Ellie Germain & Sophia Kourtoglou (2/23, 2/24 eve, 3/2 eve)
• Eva Thompson & Tally Ballas (2/24 mat, 2/29)
• Lydia Morris & Sophia Kourtoglou (2/22, 3/1, 3/2 mat)
Program Note:
Thank you to Douglas Corbin whose exceptional musicianship planted the seed of an idea of birds dancing outside the traditional ballet lens of Swan Lake. The title from the piece originates from Mary Oliver’s poem Starlings in Winter and aspects of the piece were inspired by starling murmurations. Ideas and inspirations shift and flux during the creative process. It didn’t go exactly where I originally thought it might, however, as I worked with the dancers in the studio, I repeatedly came back to several phrases from Mary Oliver’s poem: “...they are this notable thing...full of gorgeous life.... I want to be improbable beautiful and afraid of nothing, as though I had wings.”
Thank you also to Chris L., Em, Ben, Becca, Melissa, Sara, and the dancers, for their contributions and artistry, and most of all thank you to Jay Ryan.
eLementaL aLignment
A fantasy space opera inspired by miHoYo’s “Genshin Impact” video game. Through partnered art, dance, and song, this piece will immerse the artists and audience in a scenic wonderland. In mixing traditional and contemporary styles, this choreography will be demanding in body and spirit, but generous in experience.
Choreography/Producer:
Ashley Jian Thomson
Music:
“Red Leaf on the Chessboard,” “Rhythm from Ancient Times,” “First 5 Star Pull,” “Beats of Water Drops,” “Humming Amidst Rocks,” by Yu-Peng Chen
“Rex & Alatus Remix,” by Frostudio Chambersonic
Original Compositions of “Aria no. 1” and “Aria no. 2” by Kai Bowen (U Music Composer) with lyrics from “Dreams” and “The Dream Keeper” poems by Langston Hughes
Costume Design:
Christopher Larson
Stage Manager:
Rebecca Johnson
Backgrounds:
Lya Yang
Lighting Design:
Emily Bertelli
Props:
Lya Yang
AV & Projections:
Ben Sandberg
Scenic Construction: Scenic Painting:
Special thanks to Abish Noble
Kyle Becker, Isis Freiberg, and William Peterson
Documentation:
Walter Mirkšs, Chris Ellis
Cast:
The Travelers:
Em Zinn & Zhenya Ragulin (2/22, 2/23, 3/2)
Miriam Au & Avi Pilato (2/24, 2/29, 3/1)
The Elemental Guardians:
Allison Schafter as Hydro, Sam Phelps as Dendro, Ela Solmsen as Electro, Emma Mangers as Geo, Hannah Kiers as Pyro
The Celestia:
Jourdan Elterman (U Music Soprano)
Advisors:
Dr. Melonie Murray, Luc Vanier, Rebekah Joann Guerra, Will Maguire, Dr. Seth Keeton, Christopher DuVal, Nicholas Daulton-Crotty, Jay “Jong-Hoon” Kim
Thanks:
To the dancers and collaborators, for their artistic contributions and fierce commitment to each other and to the project. To Karyn and Les (my parents) and Nolan (my husband), for their unwavering support. To the audience…enjoy the adventure!
serenaDe
Choreography:
George Balanchine
Music: Stager: Pyotr Ilyich Tchaikovsky Michele Gifford
Costume Design:
Costume Production: Barbara Karinska Christopher Larson
Lighting Design:
Lighting Reconstruction: Ronald Bates Emily Bertelli & William Peterson
Rehearsal Director: Rehearsal Assistant: Maggie Wright Tesch Carly Herrmann
Special thanks to Melissa Bobick for her assistance.
Cast:
2/29 Principals:
Natalie Taylor, Kirsten Rye, Sophie Gilpin, Ben Hannum, Tolly Stewart
2/29 Corps de Ballet:
Tess Albert-Stauning, Sierra Willis, Sarah Schiffhauer, Alyssa Gibson, Annalise Wood**, Chloe Hebdon, Sarah Conover Hui, Sophie Kane, Sophie O’Brien, Amanda Peabody, Jensen Rasmussen, Hayley Winslow, Anouk Haffner, Fernanda Rodriguez, Aurora Roach,
Clea Mathieu, Alex Cherenson, Kai Casperson, Wyatt Johnson, Ben Hannum, Devin Hammond
3/1 Principals:
Natalie Taylor, Kirsten Rye, Sophie Gilpin, Ben Hannum, Kai Casperson*
3/1 Corps de Ballet:
Tess Albert-Stauning, Sierra Willis, Sarah Schiffhauer, Alyssa Gibson, Annalises Wood**, Chloe Hebdon, Sarah Conover Hui, Sophie O’Brien, Amanda Peabody, Jensen Rasmussen, Hayley Winslow, Alexa Rassbach, Fernanda Rodriguez, Aurora Roach, Clea Mathieu, Alex Cherenson, Tolly Stewart, Wyatt Johnson, Ben Hannum, Davin Hammond
3/2 Principals:
Annalise Wood**, Kat Patterson, Sophie Gilpin, Devin Hammond, Kai Casperson*
3/2 Corps de Ballet:
Kylie Chu, Alison Yang, Samantha Stinson, Caitlyn Camchong, Natalie Taylor, Fiona Galvin, Autumn Ryskoski, Sophie Kane, Kayla Madsen, Sophie O’Brian, Jensen Rasmussen, Haley Parsons, Anna Grace Cox, Sofia MArie Lusitana, Isabel Carrasquillo, Clea Mathieu, Sarah Shiffhauer, Tolly Stewart, Wyatt Johnson, Ben Hannum
Understudies:
Maggie Maierle, Annika Hayes
*Courtesy of Ballet West II
**Member of the Frederick Quinney Lawson Ballet West Academy/ University of Utah School of Dance Joint Trainee Program
Program Notes:
Serenade is a milestone in the history of dance. First performed in 1934, it is the first original ballet Balanchine created in America and is one of the signature works of New York City Ballet’s repertory. The ballet is performed by 28 dancers in blue costumes in front of a blue background. Originating it as a lesson in stage technique, Balanchine worked unexpected rehearsal events into the choreography. When one student fell, he incorporated it. Another day, a student arrived late, and this too became part of the ballet.
After its initial presentation, Serenade was reworked several times. In its present form there are four movements — “Sonatina,” “Waltz,” “Russian Dance,” and “Elegy.” The last two movements reverse the order of Tschaikovsky’s score, ending the ballet on a note of sadness.
The performance of Serenade, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust.
StAtement from the School of dAnce fAculty regArding repertory Work
The School of Dance, as an educational institution and training ground for future dance professionals, values historic repertory for its cultural signifigance and the educational benefits the reproductions of these works offer our community. All artists create works that reflect their own sensibilities and offer artistic commentary on the era. When choreographic works are restaged and presented in a later era, they may not be representative of current cultural conversations and norms and may be interpreted in a variety of ways. We invite audience members to read program notes for the historical contexts of each work.
Bios
george BaLanchine
Choreographer of “Serenade”
George Balanchine, born Georgi Melitonovitch Balanchivadze in 1904, was accepted into the ballet section of St. Petersburg’s rigorous Imperial Theater School at the age of nine. The son of a composer, Balanchine also had extensive musical training that ultimately enabled him, as a choreographer, to translate music into dance in an unprecedented way.
Balanchine began to choreograph in his teens, creating his first work around 1920, La Nuit, for himself and
a female student. In 1924, Balanchine and his small troupe of dancers were permitted to leave the newly formed Soviet Union for a tour of Western Europe. They never returned. The dancers were invited by the impresario Serge Diaghilev to audition for his renowned Ballets Russes and taken into the company. Through 1929, when the Ballets Russes collapsed with Diaghilev’s death, Balanchine created nine more ballets, including the quintessential Apollon Musagète and Prodigal Son.
After a period of uncertainty, Balanchine subsequently formed Les Ballets 1933 with Boris Kochno, Diaghilev’s last private secretary, as artistic advisor and the backing of British socialite Edward James. Though the troupe disbanded in a matter of months, the young American arts patron Lincoln Kirstein met Balanchine after a Les Ballets 1933 performance and outlined his vision to creat a ballet company in America; Balanchine agreed to come to the United States and arrived in New York in October 1933.
“But first, a school,” Balanchine is famously reported to have said to Kirstein, and the first product of their collaboration, the School of American Ballet, was founded in 1934 and remains in operation to this day, training dancers for the New York City Ballet and companies worldwide. The first ballet Balanchine choreographed in America, Serenade, to Tschaikovsky, was created for students of the School and originally performed at the summer home of Kirstein’s Harvard colleague and funder of the school Edward M. M. Warburg. Balanchine and Kirstein then created the American Ballet, which for three years was the resident
ballet company at the Metropolitan Opera. Ultimately this was not an amicable partnership as the Met had little interest in furthering the cause of the ballet and the relationship ended in 1938, inspiring Balanchine to explore choreography in musical theater and Hollywood.
In 1941, he and Kirstein assembled another short-lived classical company, American Ballet Caravan, and the repertory included two major new Balanchine works, Concerto Barocco and Ballet Imperial (Tschaikovsky Piano Concerto No. 2). In 1946 Balanchine and Kirstein formed Ballet Society, presenting such new works as The Four Temperaments and Orpheus.
From that time until his death in 1983, Balanchine served as ballet master and chief choreographer for the New York City Ballet. The Foundation’s catalogue of Balanchine’s output lists over 425 works, beginning with La Nuit and ending with Variations for Orchestra in 1982. These include Balanchine’s work in musical theater and for Hollywood. Balanchine staged many of his ballets (or excerpts) for television, allowing a significantly wider audience to see his work, and he also created new work especially designed for the medium.
On April 30, 1983, George Balanchine died in New York at the age of 79.
Source: George Balanchine Foundation
micheLe gifforD
Stager for “Serenade”
Michele grew up in Dallas, Texas. She began her training with Ann Etgen and Bill Atkinson at the Dallas Metropolitan Ballet. At the age of sixteen she moved to New York City to attend the School of American Ballet on full scholarship. Two years later, she became a member of the New York City Ballet. In her twelve year career at New York City Ballet, Michele had the opportunity to perform many soloist and principal roles including: Balanchine’s “Apollo”,” Rubies”, “Agon”, “Symphony in Three Movements”,”
A Midsummer Night’s Dream”, “Stars and Stripes” to name a few. Michele also originated many roles including Jerome Robbins’ “West Side Story Suite”, Peter Martins’” Echo”, Christopher Wheeldons’” Slavonic Dances”, and David Parsons’ Touch”. In 2000, Michele joined Texas Ballet Theater under Ben Stevenson. While at TBT, she performed several principal roles including Ben Stevenson’s “Copellia”, “Four Last Songs”,” Dracula”, and “Peer Gynt” along with Balanchine’s “Allegro Brilliante” and “The Four Temperaments”. Michele has also made several guest artist appearances including “Tchaikovsky pas de Deux”, “Who Cares”, “Barber Violin Concerto”,” Carmina Burana”, “Rubies” later joining Bruce Wood Dance Company where she was also Company Manager.
Michele has taught throughout the country including Ballet West, Boston Ballet, Next Generation Ballet, Mejia International Ballet, and Indiana University to name a few. Besides teaching, Michele is a Repetiteur for the Balanchine Trust as well as renown choreographer, Christopher Wheeldon. Throughout her 29-year performing career she has taught and owned her own Gyrotonic studio, Studio G, passing on her knowledge of movement to people from all walks of life. Most recently Michele has taken on the prestigious position of Assistant Rehearsal Director at Ballet West under Artistic Director, Adam Sklute. Michele’s passion doesn’t stop in the ballet studio or Gyrotonic studio but continues at home with her two children, Ryan and Morgan.
reBekah joann gUerra
Assistant Concert Director
Rebekah JoAnn Guerra is an American choreographer, and the Artistic Director of her company, Ballet Opéra de Guerra. The company works with multidisciplinary artists, researching the stage as a playground of cultural contradictions, inner dramaturgy, and domestic politics. Guerra’s choreographic culture originates from classical ballet, dance theatre, Afro-Latinx contemporary dances, and Ohad Naharin’s movement language, Gaga. In her work, audiences can embody introspection, empathy, and reciprocity.
From 2000-2011 Rebekah studied at Riverside
Children’s Theatre. She began formal dance training in 2011 (nineteen years old) at Riverside Community College, Dance Arts of Los Angeles, Westside School of Ballet, and Dance Arts of Orange County. She graduated from the University of California, Riverside in 2018. From 2017-2021 she worked as a freelance artist in Los Angeles, California, performing works by Micaela Taylor, Ohad Naharin, Sofia Olga Carreras, Roya Carreras, Sue Roginski, Rosa Rodriguez-Frasier, Alfonso Cervera, Stephanie Zaletel, Byungyu Kim, Kenneth Walker, Bobbi Jene Smith & Or Schraiber, Sidra Bell, and Danielle Agami.
In 2023 Ballet Opéra de Guerra was invited to perform “no te demores” at Capitol Theatre for the “Dance For Life” Suicide Awareness Gala. In 2022, she choreographed “No Exit” at the Repertory Dance Theatre in collaboration with composer Avner Dorman and musicians, Inbal Segev and Julien Labro. Rebekah’s work has been presented in France, New York, New Jersey, China and Utah. When Rebekah is not dreaming of making dances with amazing people, she is working as a Graduate Teaching Assistant in the Ballet Department at the University of Utah and as a Pilates Instructor at the I. J. & Jeanné Wagner Jewish Community Center.
christine mcmiLLan
Choreographer of “In the Theater of Air”
Christine McMillan has danced professionally for 27 years including 6 years with Richmond Ballet in Virginia and 19 years with The Metropolitan Opera in New York. In addition to originating roles in contemporary ballets by William Soleau, Val Caniparoli, Colin Connor, and Chris Burnside, her favorite soloist roles with Richmond Ballet include Jose Limon’s The Moor’s Pavane, John Butler’s Carmina Burana, and Agnes de Mille’s Rodeo.
Performing in over 45 productions at the Metropolitan Opera, she has worked with renowned choreographers and directors including Alexei Ratmansky, Christopher Wheeldon, Mark Morris, Benjamin Millipied, Doug Varone, Graciella Daniele, Mark Dendy, Julie Taymor, and Mary Zimmerman. With the Met, Christine has appeared on PBS and in live international HD broadcasts. Her soloist roles included the operas Aida, La Traviata, Les Troyens, Sly, and the ballet Parade. In New York, Christine has also performed with Ben Munisteri Dance Projects, Cherylyn Lavagnino Dance, Trebien Pollard, Poppo & the GoGo Boys, Rebecca Kelly Ballet, White Wave Dance, and as a guest artist in many Nutcracker productions.
Recognized for her versatility in both ballet and modern dance, Christine was awarded a Bessie (New York Dance and Performance Award) in 2004 noting her “soaring musicality… and the ability to illuminate abstract work with incandescent muscular intelligence.” Her performance of Lavagnino’s work was singled out by the NY critic Eva Yaa Asantewaa in her list of “most memorable arts experiences of 2014.” Christine’s choreography has been presented at the Center for Performance Research in Brooklyn, Dancemakers, American College Dance Association, and the International Conference on Teaching Somatics-Based Dance.
Christine received a Bachelor in Science from Indiana University in Ballet & Psychology and a Masters in Fine Arts in Dance from the University of WisconsinMilwaukee. Recent teaching includes New York University, Illinois Wesleyan University, The Joffrey
Ballet School, Gibney Dance, and company class for Cherylyn Lavagnino Dance. A certified yoga teacher at the 500 hr level, Christine continues to research somatic practices focusing on their application to dance technique and as a means to promote longevity in a dance career.
ashLey jian thomson
Choreographer
of “Elemental Alignment”
Ashley Jian Thomson is a Communications Specialist & Fine Arts Ambassador with the University of Utah’s College of Fine Arts, a choreographer with Salt Lake Ballet Cooperative, and a Steering Committee Member with DanceMN.
Professional credits include SB Dance’s Curbside Theatre, Art Meets Fashion! Gala (Charles & Ron), JessaKae (Ballerina Collection), James Sewell Ballet, Akram Khan x MN Opera, NIJAD Dance Collective,
Festival de Danse Cannes 2019, Nu.topia: Tour the Mystery!, HATCH: Danceworks in Progress, RDT’s Emerge, SACDT’s Sign of Life, Lexus GS Japan’s Kaleidoscope commercial.
Teaching credits include UBSI, IBSI Korea, Ballet West Academy, MOGA Conservatory, and the Hawkins School of Performing Arts. Ashley graduated from the University of Utah with a Ballet, B.F.A. and a Strategic Communications, B.S. She holds certifications in ABT® National Training Curriculum, Progressing Ballet Technique, and University of Minnesota’s UX/UI Design Program.
maggie wright tesch
Rehearsal Director for “Serenade”
Maggie Wright Tesch retired from her career with Ballet West spending 12 of her 18 years as a Principal Artist in May of 2006. She demonstrated versatility transitioning from classical ballet into Balanchinestyle works and contemporary ballets with equal acclaim. She completed a BFA in Ballet from the University of Utah, her Polestar Pilates Certification and is certified in the Progressing Ballet Technique. In 2006, the Department of Ballet invited her to teach as an Adjunct Professor where she remains one of
the primary instructors for many of the university’s undergraduate studio courses, is the primary author of the Steps of Study used in leveling and grading the Ballet Program students and is particularly passionate about supporting opportunities for dancers to perform in historical repertoire. She received an appointment to full Professor/Lecturer in 2019, has been awarded five grants and regularly serves on University, College and School of Dance committees and, in 2017, she was appointed Director of the University of Utah Ballet Summer Intensive that hosts up to 125 students every summer.
Maggie is an American Ballet Theater Certified Teacher who has completed the ABT’s Teacher’s Training Intensive in Primary-Level 7 and Partnering of the ABT National Training Curriculum. As a result, her university teaching and research have expanded to include theory courses in both undergraduate and graduate Pedagogy and Pointe Methodology. She oversees all of the Teaching Practicums required of students seeking the U of U Ballet Program’s Teaching Certificate and Teaching Emphasis. She has twice arranged for the ABT’s National Training Curriculum co-authors to present on campus and served as an adjudicator. In 2023 she was one of three final candidates for the position of Director of the American Ballet Theatre’s Gillespie School in the Segerstrom Center for the Arts in Costa Mesa California and was invited to teach at the ABT Jacqueline Kennedy Onassis School in NYC.
In 2012 Maggie and Ballet West Artistic Director Adam Sklute collaboratively developed a year-round
Joint Trainee program that runs alongside Ballet West’s Professional Training Division. University dancers receive training and performing opportunities with Ballet West while continuing to pursue their degrees at the U. This program has expanded to include professional companies in Ohio, Pennsylvania, Colorado, Oregon, Texas and California. She oversees all professional studies courses and she transitioned her Pedagogy I/II and Pointe Methodology courses to include an online format to broaden the reach to include these remote students.
She teaches and coaches in internationally recognized schools worldwide, including the Ballet West Academy, University of North Carolina School of the Arts, Boston Ballet School, Pittsburgh Ballet Theater School, and most recently American Ballet Theatre’s JKO School.
In the fall of 2022, she performed the role of the Nurse in Ballet West’s production of Onegin and was the primary coach for the principal artists. Additionally, she assisted Balanchine Foundation repetiteur Michele Gifford with Concerto Barocco. She continues to mentor and prepare dancers for performances and elite competitions, including YAGP, the Prix de Lausanne and the Beijing International Ballet Invitational.
Demonstrating her commitment to providing opportunities for students from all communities, she helped facilitate the Ballet Program’s participation in the MLK Celebration on campus in 2021. She collaborated on a Teaching Grant with Utah Presents to host Memphis-based professional black
company, Collage Dance Collective, in the spring 2023 that included 59 community dancers and 15 university artists who performed two student outreach performances and two evening performances with the company.
LUc vanier
Concert Director & Choreographer of “Bring it on Home”
Luc Vanier (MFA, M.AMSAT, MSDE) is a Professor at the University of Utah. He received his MFA from the University of Illinois Champaign-Urbana and certified as an Alexander technique (AT) teacher in 2001 with Joan and Alex Murray. In 2011, as an AT training course director, he founded Alexander Technique Milwaukee (ATMKE); in 2016, he later co-founded Salt Lake City Alexander Technique (SLCityAT), where he is the current director.
A Principal Dancer and company choreographer with Ohio Ballet, he danced pivotal roles in the works of company founder Heinz Poll, Balanchine, Paul Taylor, Kurt Jooss, Lynne Taylor-Corbett and Laura Dean among others. His choreography has been produced at the Joyce Theater in New York City and toured nationally.
As a pedagogue and integral researcher, Luc has lectured and presented his research extensively nationally and internationally and his co-authored book “Dance and the Alexander Technique” was published by University of Illinois Press in 2011. It was also translated in Spanish Fall 2021 with Pequeña Hoja Press (Buenos Aires Argentina). In 2012, he founded the Integral Movement Lab, which combines the Alexander Technique and developmental ideas within product and curriculum designs. He co-created Framework for Integration, a movement analysis system anchored in the way babies and animals move that helps all movers make new, healthier movement decisions and encourages more coordinated and integrated bodily use (look for an upcoming book, Moving into Skill: a Framework for Integration with the U of I Press in Summer 2024).
the PeoPLe of the schooL of Dance
FACULTY
Christopher Alloways-Ramsey – Assistant Professor, Recruitment Director
Melissa Bobick – Assistant Professor
Douglas Corbin – Professor (Lecturer), Musical Director
Daniel Clifton – Associate Professor (Lecturer)
Joselli Deans – Associate Professor
Natalie Desch – Assistant Professor, Recruitment Director
Pamela Geber Handman – Professor
Eric Handman – Associate Professor, Director of Graduate Studies
Molly Heller – Assistant Professor
Satu Hummasti – Associate Professor
Jay Kim – Associate Professor, IBSI Director, Director of Undergraduate Studies
Kym McDaniel – Assistant Professor, Screendance Program Head
Christine McMillan – Associate Professor (Lecturer)
Melonie Murray – Professor, Director, School of Dance
Pablo Piantino – Assistant Professor, Director of Undergraduate Studies
Sara Pickett – Associate Professor (Lecturer), Director of Undergraduate Studies
Ben Sandberg – Assistant Professor (Clinical), A/V Specialist
Mary Ann Walton Lee – Associate Professor (Lecturer), Artistic Director Tanner Dance
Maggie Wright Tesch – Professor (Lecturer), UBSI Director
Luc Vanier – Professor
ADJUNCT FACULTY
Rebecca Aneloski – Adjunct Instructor
Rosie Banchero - Adjunct Assistant Professor
Lynne Larson - Adjunct Assistant Professor
Christine Moore – Adjunct Assistant Professor
Justine Sheedy-Kramer - Adjunct Associate Professor
Jasmine Stack - Adjunct Assistant Professor
FACULTY EMERITI
Bené Arnold – Distinguished Professor Emerita, Distinguished Alumna
Ellen Bromberg – Distinguished Professor Emerita
Jacqueline Clifford - Professor Emerita
Abby Fiat - Professor Emerita
Barbara Hamblin - Associate Professor Emerita, Distinguished Alumna
Phyllis Haskell - Professor Emerita, Distinguished Alumna
Stephen Koester - Professor Emeritus
Sharee Lane - Associate Professor Emerita
Conrad Ludlow - Associate Professor Emeritus
Loabelle Mangelson Clawson - Professor Emerita
Shirley Ririe - Professor Emerita
Brent Schneider – Professor Emerita
Jon Scoville - Associate Professor Emeritus
Donna White - Professor Emerita
Joan Woodbury - Professor Emerita
MFA CANDIDATES
Constance Anderson – MFA Candidate
Emma Capen – MFA Candidate
Roxanne Gray – MFA Candidate
Rebekah Guerra – MFA Candidate
Carly Herrmann – MFA Candidate
Ruger Memmott – MFA Candidate
Alexia Poutrino Maikidou – MFA Candidate
ADMINISTRATION
Melonie Murray - Director
Will Maguire - Administrative Manager
Sheridan Hutchinson - Administrative Assistant
Merritt Mecham - Marketing & Design
Hope Ferguson – Office Assistant
COSTUME SHOP
Christopher Larson – Costume Shop Supervisor & Resident Designer
Madeleine Mann – Draper
Clover Kelly – First Hand
Makayla Cussen – Head Stitcher
Sofia Marie Lusitana, Katie Winslow, Brianne Corbridge – Stitchers
ACCOMPANISTS
Amy Bach – Accompanist
Vilena Barekyan – Accompanist
Mark Chaney – Accompanist
Wayne Coons – Accompanist
Jordan Fajardo-Bird – Accompanist
Max Hall – Accompanist
David Herrmann – Accompanist
Tristan Moore – Accompanist
Brian Pappal – Accompanist
Tatsiana Rasmussen – Accompanist
John Rukavina – Accompanist
Wachira Waigwa-Stone – Accompanist
Kimball Whitaker – Accompanist
PT/ATC
Christopher Michaels – Athletic Trainer
PRODUCTION
Production Director - Emily Bertelli
Technical Director - William Peterson
Production Stage Manager - Rebecca Johnson
Video Director - Ben Johnson
Videographers - Leo Lynn, Samuel Schild, Joon Park
Run Crew - Susan Burnap, Madeline
Franz, Haley Freeman, Leo Lynn, Derek
Morales, Liam Oaks, Abby Pace, Maxwell
VanNocken-Witmer
the schooL of Dance akcnowLeDges anD thanks the foLLowing Donors for their generoUs sUPPort
DUring fiscaL year jULy 1, 2022 - jUne 30, 2023
Contributors | $2,500+
Christie Walker
Brandon Walker
Gordon and Connie Hanks
Benefactors | $1,000 - $2,499
Andrew De Camara
Allison De Camara
Jean Sabatine
Anne Riffey
John Veranth, PhD and Martha Veranth
Abby and Jerome Fiat
Patrons | $500 - $999
Henning Haffner
Sophie Kane
Cafe Zupas
Lou Leberti
The Field Foundation
Sheila Ainlay and Michael Steiner
Sean Carter
Friends | $200 - $499
Brent Schneider and Kim Blackett
Rae Barnes
Arkansas Community Foundation
Melonie Murray, PhD and Steve
Murray
Edward Folts
The Benevity Community Impact Fund
Intel Corporation Corporate Office
Andrea Nelson
Eastern Arts Society
Michael and Carolyn Stransky
Karyn Strickler
Brenda Daniels
Melissa Panek
Dixie Moore
West Point Ballet Academy
Brendan M. Guiliano
Jennifer Guiliano
Andrew and Alice Sullivan
Jonathan Scoville and Tandy Beal
Fans | $100 - $199
CENGAGE Learning
Robyn Connors
Isabel Shimanski
Grant Smith, PhD
Marsha Knight and Leigh Selting
Kim Morris and Rheba Vetter, PhD
Panda Restaurant Group, Inc.
Eric and Pamela Handman
Chipotle Mexican Grill
Lisette Miles
A. Kent Greene, JD and Jan Greene
Judith and Bruce Frumker
Jean Christofferson
Paul Keir
Bob Knous
Marla Polk
Linda Jellison
Joe Rejsek
Dianne Shelden Howe Trust
Dennis and Margaret Tesch
Janet and Gregory Shaw
Wendy Thompson
Patricia Rubley and Raymond
Rubley, Jr.
Maureen McGill
Dianne Howe, PhD
Thomas Welsh, PhD and Sue Carpenter
Priscilla Campbell, CPA
Michele and Lawrence Holzman
SELECT
PERFORMANCES WILL BE
We recognize that the arts are a vital part of our connection to one another, and we need connection now more than ever.
So, we, in the School of Dance, have made the decision to provide free access to any patron who would like to be moved by our movement this year.
For those who would like to help us make our art available to more, or who would like to support the work of our talented faculty, staff and students, we welcome your financial contributions.
But for now and while we can, we’re letting the art be free. LIVE-STREAMED
AT
https://www.dance.utah.edu/performancesevents
This year marks the College of Fine Arts 75th anniversary, and as new faces join our community, we can’t help but think of all who came before, leaving their mark on the unique history of the College of Fine Arts. Each is a vital component of our expanding creative ecosystem. We are filled with gratitude for where we have been and anticipation for where we’re headed.
Your gift in honor of this monumental landmark — no matter the size — fuels dreams taking root in the College of Fine Arts. Thank you for investing in our future.
Tap here to make a gift now.
