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Support the power of live performance through the Los Angeles Ballet Orchestra Fund. Your gift helps bring world-class musicians and dancers together onstage, elevating the artistic experience for audiences while sustaining professional orchestral musicians in Los Angeles. Live music transforms ballet from performance into an unforgettable experience. Donate to the Los Angeles Ballet Orchestra Fund

Expands inclusive access to dance by supporting Los Angeles Ballet’s Sensory‑Friendly Nutcracker performance for neurodiverse audiences and their families. Donate to the Sensory-Friendly The Nutcracker Campaign

Supports Los Angeles Ballet’s artists by underwriting the essential performance resources that enable artistic excellence on stage. Donate to the Pointe Shoe Campaign

As a Los Angeles Ballet donor, you join a community of people who help us to bring exceptional ballets to the stage and support the transcendent art form of ballet so that it can be shared with and enjoyed by as many people as possible. Your support will go wherever it is needed most—helping sustain performances, education programs, community access, and artistic growth across the organization. Giving Giving / Support All That We Do As a Los Angeles Ballet donor, you join a community of people who help us to bring exceptional ballets to the stage and support the transcendent art form of ballet so that it can be shared with and enjoyed by as many people as possible. Your support will go wherever it is needed most—helping sustain performances, education programs, community access, and artistic growth across the organization. GIVE NOW Choose Your Impact Throughout the year, Los Angeles Ballet offers focused giving opportunities that support artistic excellence, accessibility, education, and the creative community. Explore targeted ways to make an impact– each campaign supports a vital part of LAb’s work, from the stage to the community. Pointe Shoe Campaign Supports Los Angeles Ballet’s artists by underwriting the most essential resource that enables artistic excellence on stage. Pointe shoes are not a costume — they are the foundation of every performance. Every LAB ballerina uses at least 40 pairs of pointe shoes each season that cost nearly $200 for each pair...a company investment of $150,000 annually. GIVE NOW Sensory‑Friendly The Nutcracker Campaign Expands inclusive access to dance by supporting Los Angeles Ballet’s Sensory‑Friendly Nutcracker.  With the guidance from community partner The Autism Society of Los Angeles, this performance is specially adapted to create a more comfortable and accessible environment for individuals with autism, sensory sensitivities, or other cognitive or social challenges, as well as their families. GIVE NOW Education Outreach Campaign Sustains Los Angeles Ballet’s education and community engagement programs, bringing high‑quality dance experiences to students and underserved communities. Our signature programs — A Chance to Dance , which provides free classes in residency in schools and at our home studios, and Power of Performance (POP!) , which gives 10% of tickets to every performance for free (a value of $300,000) to community organizations serving underserved communities across LA County — are at the heart of this work. GIVE NOW Los Angeles Ballet Orchestra Fund Support the power of live performance through the Los Angeles Ballet Orchestra Fund. Your gift helps bring world-class musicians and dancers together onstage, elevating the artistic experience for audiences while sustaining professional orchestral musicians in Los Angeles. Live music transforms ballet from performance into an unforgettable experience. GIVE NOW Contact Olivia O'Connor Director of Development (310) 477-7411 ext 1006 oloconnor@losangelesballet.org Non-profit 501 c3 Tax ID #20-1819852 Pointe Shoe Campaign, Photo by Robert Ballantyne Sensory Friendly The Nutcracker Campaign, Photo by Cheryl Mann Photography Education Outreach Campaign, Photo by Mary Katherine Leslie Space Residency Program Campaign, Photo by Mary Katherine Leslie

Los Angeles Ballet video gallery presents behind-the-scenes rehearsal and promotional videos spanning sixteen years of performances. Home / Video Gallery Video Gallery The Nutcracker 2019 Choreography by Christensen/Neary, Music by Peter Ilyich Tchaikovsky

Dancers who were new to every role gave the challenging three-part program by Los Angeles Ballet on Saturday the thrills of a high-wire act without a net. Would anyone fall? Home / News / New Item Balanchine Casts a Spell March 13, 2017 Los Angeles Times by Lewis Segal Dancers who were new to every role gave the challenging three-part program by Los Angeles Ballet on Saturday the thrills of a high-wire act without a net. Would anyone fall? (Yes, once.) Would anyone succeed brilliantly? (Yes, more than once.) Emergency casting added another edge to the experience at the Alex Theatre in Glendale. An injury to principal dancer Allyssa Bross caused the company to fly in Lia Cirio to take on major roles in two ballets. A principal with Boston Ballet, Cirio not only displayed refined technique but an ability to give herself to the music that took you deeply into the choreography. Since all of the choreography was created by George Balanchine, the stakes were high indeed. It was a shrewd programming ploy to include on the same bill Balanchine’s 1956 “Divertimento No. 15” and his 1970 “Who Cares?” Though radically different in style, these plotless showpieces share structural similarities and, especially, a string of complex, effervescent women’s solos. “Divertimento” is danced to Mozart and seems to belong in an 18th-century royal court; “Who Cares?” is danced to Gershwin and seems to belong on a 20th-century Broadway stage. Cirio appeared perfectly at home in both environments — as did the regal Bianca Bulle and the lyrical Julia Cinquemani. A company premiere, “Divertimento” will need more performances to erase the sense of strain periodically evident on Saturday. But Madison McDonough brought ease and refinement to some exceptionally difficult steps in her variation. What’s more, the staging by company co-director Colleen Neary kept the fabled musicality of the ballet firmly in focus. Although the company has programmed “Who Cares?” before, the new cast and Neary’s staging enforced elegance as well as pizzazz. As the resident dreamboat wooing all the principal women, Tigran Sargsyan was clearly working through some of the intricate partnering issues, but eventually his remarkable generosity as a dancer came into view. He had a tough night: Along with Kenta Shimizu and Dustin True, he also danced strongly in “Divertimento” and “Prodigal Son.” True’s stellar breakthrough came earlier this season in “Stravinsky Violin Concerto,” and on Saturday his cautious diligence occasionally yielded to moments where he again really inhabited the choreography and made it personal. As for Shimizu, he remained faultless as a cavalier in “Divertimento” (no surprise there) but displayed unexpected dramatic powers in the title role of “Prodigal Son.” Impeccably staged by Patricia Neary (Colleen Neary’s sister), this 1929 story ballet set to music by Prokofiev had a cohesion and surety on Saturday that made you relax and fall under its spell. Debut performances? Who could guess, when Shimizu claimed the role at full intensity? There’s a dimension of ironic comedy here that remains to be discovered — and perhaps Shimizu externalized the character’s pain too overtly in the final scene. But his interaction with the impossibly glamorous Elizabeth Claire Walker as the Siren overcame a minefield of technical hazards with no loss to his character’s helpless confusion or her over-the-top hauteur. The seductive, greedy Siren was always as much a living cliché as the stern but forgiving Father (Zheng Hua Li). But Balanchine used these stereotypes to define in the shortest possible time the prodigal’s all-too-human arc from rebellion to contrition. And the dancers exploited their opportunities skillfully. In the 1920s, the Russian ballet world considered Balanchine a radical, and “Prodigal Son” has plenty of evidence: experimental gymnastics, realistic pantomime, bizarre character dancing and plenty of sex. The academic classical vocabulary for which he’s celebrated can be found if you look for it, but a couple years shy of its 90th birthday, the work still looks newly minted — and now one of the great Los Angeles Ballet triumphs. ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ Los Angeles Ballet’s ‘Balanchine — Master of the Dance’ When: 7:30 p.m. March 18 at Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach. Also 2 p.m. March 26 at Royce Hall, UCLA, 340 Royce Drive Tickets: $31-$99 Information: (310) 998-7782, www.losangelesballet.org Follow The Times’ arts team @culturemonster. ALSO Spring preview: What to see in dance, theater, art, classical and more Alvin Ailey translates MLK speeches into dance 'Runway' finalist’s costumes create character for Jessica Lang Dance Movement as bleak theater, with some terrific Pharrell music too READ ARTICLE AT SOURCE

Los Angeles Ballet has grown to become a world-class ballet company known for its classical ballets, innovative performances and a repertory inspired by George Balanchine. Here, Colleen Neary takes us behind the scenes. Home / News / New Item Behind the Scenes of Los Angeles Ballet November 21, 2021 Dorchester Collection READ ARTICLE AT SOURCE

LAB Co-Artistic Director Colleen Neary will stage Le Palais de Cristal, which was choreographed by George Balanchine for the Paris Opera Ballet in 1947. Home / News / New Item Colleen Neary to Stage Balanchine at the Paris Opera Ballet April 30, 2014 Company News from the Staff at LAB LAB Co-Artistic Director Colleen Neary will stage Le Palais de Cristal, which was choreographed by George Balanchine for the Paris Opera Ballet in 1947. The name was changed to Symphony in C when Balanchine revived it for New York City Ballet. Colleen Neary is a Répétiteur for The George Balanchine Trust.

The Nutcracker was performed at the Alex Theatre, December 3-4; Royce Hall, December 22-24, 2009 Home / News / New Item Dazzling Nutcracker Opens Los Angeles Ballet's 4th Season December 23, 2009 AisleSay.com by Penny Orloff With this touchstone Romantic ballet, LAB closes its fifth season with a stronger than ever claim for community support. Performances continue Saturday at the Alex Theatre in Glendale and the following weekend at the Broad Stage in Santa Monica. DOWNLOAD PDF

Silk chiffon dresses flutter, crystal-covered rompers twinkle, and sequin-etched gowns shine. Home / News / New Item Fall Fashion 2015: The Turning Point October 28, 2015 Los Angeles Magazine by Linda Immediato Silk chiffon dresses flutter, crystal-covered rompers twinkle, and sequin-etched gowns shine. Who better than members of Los Angeles Ballet— celebrating its tenth-anniversary season—to showcase fall’s high-drama couture and evening looks? READ ARTICLE AT SOURCE

A celebration of George Balanchine’s life, choreography and his time working in Hollywood with performances of seven of his greatest ballets and discussions with noted dance critics, historians and répétiteurs of The George Balanchine Trust Home / News / New Item Los Angeles Balanchine Presents the Balanchine Festival February 1, 2013 LAB Public Relations Balanchine GOLD (March/April 2013) and Balanchine RED (May/June 2013) A celebration of George Balanchine’s life, choreography and his time working in Hollywood with performances of seven of his greatest ballets and discussions with noted dance critics, historians and répétiteurs of The George Balanchine Trust at: Redondo Beach Performing Arts Center Royce Hall – UCLA Valley Performing Arts Center – CSU Northridge Alex Theatre – Glendale Carpenter Performing Arts Center – CSU Long Beach Los Angeles Ballet presents its Balanchine Festival , celebrating the genius of the most important and influential choreographer of the 20th century. Extending over three months, the Festival centers on seven of Balanchine’s greatest ballets performed in two programs (GOLD and RED), presented at each of LAB’s five home theaters. Special Festival events will include discussions and interviews with those who worked with Balanchine, and an examination of Balanchine’s Hollywood years with screenings of his film choreography. Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary assembled the program to represent Balanchine in his many styles and eras. Both Christensen and Neary danced with Balanchine’s New York City Ballet. Balanchine personally selected Neary to stage his ballets, and to become a répétiteur for The George Balanchine Trust. She has staged his ballets for major companies in America and internationally, including the Paris Opera Ballet, the Bolshoi Ballet, the Mariinksy (formerly Kirov Ballet) and American Ballet Theatre, to name a few, as well as for Los Angeles Ballet. “Selecting only seven ballets from the rich trove Balanchine created over the decades was not easy,” Christensen said. Neary added, “Each of these ballets has a specific mood and reflects a distinct musical and choreographic composition and style. Each ballet also has stories surrounding its creation, the music, and those who danced it, which will be part of the conversations that ticket holders can also experience as part of the performances.” Balanchine GOLD includes La Sonnambula , a one-act story ballet with love, jealousy, murder and a mysterious sleepwalker; Concerto Barocco, one of Balanchine’s signature works set to Bach’s Concerto in D-minor for Two Violins ; Tchaikovsky Pas de Deux , a bravura duet set to what was the original music for the Black Swan pas de deux; and Four Temperaments, with music Paul Hindemith composed at Balanchine’s request and wherein the choreographer fused classical and contemporary movement to explore the medieval “humors” attributed to the human body. Balanchine RED opens with another one-act story ballet, La Valse , where Maurice Ravel’s music is the backdrop for a young woman’s fascination with a sinister figure at a ball. Agon employs Igor Stravinsky’s score for a series of contests among the dancers, and Balanchine returns to Stravinsky for Rubies , the jazzy, exuberant center section of the full length ballet, Jewels . George Balanchine, (or Mr. B as he was called by those who knew and worked with him), began his career in Russia, built his reputation as a choreographer at Sergei Diaghilev’s Ballet Russe de Monte Carlo, then came to the United States where he established the School of American Ballet and built what became the New York City Ballet. But Balanchine also spent time in Hollywood, often choreographing for his then wife Vera Zorina. Balanchine’s time in Hollywood is one of the aspects of his career that will be explored by a rotating roster of guest commentators that includes arts journalists Lewis Segal, Victoria Looseleaf, and Sasha Anawalt, and Balanchine répétiteurs including Colleen Neary, her sister Patricia Neary, Kent Stowell and Francia Russell. During his life Balanchine selected répétiteurs authorized to stage his ballets. Since his death in 1983, The Balanchine Trust and its répétiteurs have continued to ensure the integrity of the staging of Balanchine’s ballets while introducing new generations to Balanchine’s legacy. (The George Balanchine Trust, established in 1987 with the mission of preserving and protecting Balanchine’s creative works, is the center from which the business operations relating to the licensing of George Balanchine’s creative output emanate. The Trust has the responsibility of disseminating and protecting the integrity and the copyrights of George Balanchine’s work in the present and for the future, and assigns répétiteurs to teach and coach Balanchine ballets around the world.) “April 30, 2013 marks the 30th anniversary of Mr. B’s death,” Christensen noted. “We had added two more theaters for a total of five home venues, and as Los Angeles Ballet was entering its seventh season in 2012-2013, it seemed the appropriate time for a festival to celebrate Balanchine’s genius and life. It was a happy coincidence when the Music Center announced its festival celebrating the 100th anniversary of Igor Stravinsky’s Rite of Spring, L.A.’s Rite: Stravinsky, Innovation, and Dance. ” “Our Balanchine Festival fit like a glove with the Stravinsky festival,” Neary said. “Balanchine and Stravinsky were great friends and loved to collaborate. With Agon and Rubies already part of Los Angeles Ballet’s Balanchine Festival, we were very pleased with the invitation to perform those ballets this summer as part of the Stravinsky festival to honor both Balanchine and Stravinsky at the same time.” DOWNLOAD PDF