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Dancing through its first nine seasons, Los Angeles Ballet has bravely tackled one rite of passage after another — not merely the major Balanchine and Bournonville choreographies that are its stylistic birthright but, increasingly, the top-of-the-list, full-length 19th century classics that can leave dancers in any company cruelly exposed. Home / News / New Item L.A. Ballet delivers a classically pure 'Sleeping Beauty' March 30, 2015 Los Angeles Times by Lewis Segal Dancing through its first nine seasons, Los Angeles Ballet has bravely tackled one rite of passage after another — not merely the major Balanchine and Bournonville choreographies that are its stylistic birthright but, increasingly, the top-of-the-list, full-length 19th century classics that can leave dancers in any company cruelly exposed. The latest example: a three-hour “Sleeping Beauty” Sunday afternoon in Royce Hall at UCLA that justified company (and civic) pride both as an index of growth and for sustained achievement. The Royce performance was the final of five performances over the last five weeks. With its tiny morsels of plot and cornucopia of formal dances, “Sleeping Beauty” is a daunting challenge that Marius Petipa, the original choreographer, intended not as a typical Romantic story-ballet but an evocation of a much older theatrical dance tradition. Shared purity of style is essential here, and long before the nominal leading dancers made their first entrances on Sunday, the women who performed short blessing-solos in the first half-hour of the ballet delivered the vibrant yet uninsistent classicism that co-directors Thordal Christensen and Colleen Neary have made into a company signature. What’s more, Christensen and Neary boast backgrounds with the Royal Danish Ballet — long the acknowledged masters of 19th century ballet sign-language — so the vital mime conversations in “Sleeping Beauty” that can look clumsy or even ridiculous when other companies attempt them became utterly natural on Sunday. You try telling people, without speaking, that a baby is going to grow up, be beautiful, dance nicely yet prick her finger on a spindle and die. A lot easier to text it. You might argue that the last act of this version suffers from extensive cuts that leave only classical showpieces, omitting the character and comic specialties that Petipa included for variety. And you might also note that the company’s skimpy male roster definitely needs the guests that have been popping up here and there. A month earlier, at the Valley Performing Arts Center, Luke Schaufuss (son of ballet superstar Peter Schaufuss) danced a raw but powerful Bluebird in the production. And on Sunday, the role of King Florestan gained authority from the great dancing-actor of New York City Ballet, Adam Lüders. Of course, a young company that dances to recorded music in borrowed sets has more to worry about than guests, and, indeed, there were times on Sunday when the slow, canned Tchaikovsky and the cramped Royce Hall stage took their toll. For example, in Act 1 alone the Garland Waltz needed more musical oomph, and Aurora’s solo after the Rose Adagio needed more space in front of the scenery. But that’s about all Julia Cinquemani needed as Aurora. Gifted with a technique that made every high extension seem a major event, she had the unerring balances for the Rose Adagio, the dreamy inaccessibility for the Vision Scene and the radiant star power for the Grand Pas de Deux, all presented with a devastating freshness, as if she might be discovering the role as she danced it. Allyssa Bross displayed many of these same qualities as Aurora on Feb. 28 at the Valley Performing Arts Center, and she ably transferred them to the role of the Lilac Fairy on Sunday, standing up to Neary’s furious Carabosse with dramatic flair. Neary’s special achievement was letting you see how genuinely injured this character felt — deep human emotion clashing with the stylized sweetness surrounding her. Among the men, pride of place incontestably belonged to Kenta Shimizu, the one and only Prince Desire in every company performance. Admittedly he couldn’t do much with his dull, inexpressive I’m-so-lonely choreography in Act 2. But the mime, partnering and sense of urgency in the Vision Scene proved exemplary, and his elegance in the Grand Pas de Deux ideally complemented his Auroras, whether Cinquemani or Bross. Allynne Noelle wasn’t in the cast on Sunday, but at VPAC last month her Lilac Fairy had regal eloquence, and she also danced Aurora during the five-week run. Dustin True made a diligent, low-flying Bluebird opposite Bianca Bulle, who soloed impressively both here and in the first fairy variation of the Prologue. The other fairies and/or jewels included Ashley Millar, Madison McDonough, Chloé Sherman, Elizabeth Claire Walker and Kate Highstrete. Without them, the staging would have lacked credibility as a whole. A “Swan Lake” can thrill you with just a great Prince and Swan Queen, but “Sleeping Beauty” needs classical multitudes — especially sparkling women soloists. Heading toward its 10th season in September, Los Angeles Ballet clearly has them, and they may be sorely tested by the anti-classical modern dance and crossover repertory on their agenda this summer. For a company as ambitious as this one, the rites of passage never stop — and neither does the excitement. David Walker’s scenery for a Boston Ballet production looked ideally sumptuous on the wide stage of Valley Performing Arts Center, but whatever could be accommodated at Royce Hall framed the dancers richly. calendar@latimes.com READ ARTICLE AT SOURCE

Memoryhouse, Melissa Barak's first full evening length ballet, choreographed to the 2002 Max Richter album of the same name, was performed at Broadstage in Santa Monica for three nights, June 15-17, 2023, as the concluding pieces of Barak's first season as Artistic Director of the Los Angeles Ballet. Home / News / New Item Review: The Los Angeles Ballet Steps Out With Barak’s MemoryHouse July 5, 2023 Forbes Tom Teicholz Memoryhouse , Melissa Barak's first full evening length ballet, choreographed to the 2002 Max Richter album of the same name, was performed at Broadstage in Santa Monica for three nights, June 15-17, 2023, as the concluding pieces of Barak's first season as Artistic Director of the Los Angeles Ballet . Memoryhouse is a work whose subject is the Holocaust – however, it is not a narrative account of any one person's experience, nor does it try to render specific occurrences, rather it is a work that uses a series of vignettes (or scenes or movements) to convey a spectrum of Jewish experience during the Holocaust. In my conversations with Barak, both while in rehearsal, and then on stage following the Friday night performance, she shared some of her inspiration and process regarding Memoryhouse . She first heard the Max Richter album years ago, and it stayed with her. "It's so beautiful. It's very haunting. It's very dramatic," Barak said. "I don't remember exactly what I was doing or when it occurred to me what the ballet should be about, but as soon as that thought [that the subject would be the Holocaust] came into my head, it was like: Oh my God, this section sounds like a train… another section is very atmospheric [and] it sounds like people in hiding, like hiding beneath shadows and like flickers of light…." I asked Barak why the Holocaust? "I was always very interested in the subject," Barak said. Barak, who is Jewish, added that, although her own family arrived in the United States in the 1920s, escaping from persecution in Russia, none of her direct family were murdered in the Holocaust. Nonetheless, the subject has always captivated her. "Throughout my twenties and thirties," she told me, "I went to Auschwitz. I have been to Berlin... I went to Sachsenhausen. I went to Dachau when I went to Munich. I've been to the Anne Frank Museum in Amsterdam. I've been to Hungary. I always made it a point to [visit] museums and camps. I went to the [US] Holocaust Museum in DC very soon after it opened. It's just a subject that I've always been very interested in." So, how did this become a ballet? Barak explained: "Once I've taken everything I know, and I've learned and just surrounded myself [with] the stories... the sights, the feelings, the emotions. Then, [Richter's] music is such a guide… I knew what each movement represented in terms of what scene we're talking about. Then it was just a matter of exploring movement that expressed that time and place." Memoryhouse is compelling and innovative in its mix of traditional, modern, and abstract modes of dance as well as in its use of scrims and projections created by Sebastian Pescheira, and a flexible stage-set created with architect Hagy Belzberg (who is also the architect of Holocaust Museum LA). The projections are integral to Memoryhouse , at times looking like musical notes or Hebrew letters that fall and become rain-like slashes; and, at other times, morphing into birds that take flight; and significantly, at one moment of intensity, the rain of slashes convey the rain of ash in the sky from the incineration of the bodies of the murdered. Spoken word poetry is used in each of the ballet’s two acts – in the first act a poem is recited in Russian by the poet Marina Tsvetaeva herself (there is no translation just the voice, that to me conjured the life of Russian Jews during the Holocaust, at Stalingrad and during the famine siege of St. Petersburg). In the second act, John Cage speaks words in an affectless tone that, to me, spoke to the non-sensical zombie world of the Nazis' factories of death. The dancers stand at times behind the scrim, which can look like a hazy screen with rectangular cut outs. At moments, it creates distance from the audience – as if they are not just in a different time but on a different planet, be it in the ghetto, or on the trains, or in the camps. It's very arresting and conveys the various moods of alienation, aloneness, danger, and even adds a level of ominous foreboding. Although the ballet is abstract, the human mind is always striving to find meaning and impose a narrative. In the first half of the ballet as the scenes build, one after another, I imagined the families that existed before the war, their lives in the ghettos, their transport on the trains, and in the death camps themselves- it was an emotional experience. The dramatic first act break left the audience breathless. Memoryhouse signals a dazzling creative accomplishment for Barak, in what has already been an accomplished career. Barak is an LA native who attended Crossroads School for Arts and Sciences from seventh to 11th Grade, while training at Westside Ballet. At a young age, Barak's mother took her to the ballet and put her in ballet classes. Even then, Barak says, "I saw myself both as a dancer performing, and I also was constantly creating ballets in my head." Barak spent two years in the School of American Ballet, before being accepted in 1998 into New York City Ballet (NYCB), the house that Balanchine built. Mr. B. had passed away in 1983 but under the leadership of Peter Martins, the ballet masters were still Balanchine trained, and some of the Balanchine ballerinas such as Merrill Ashley were still working with the company. It was a "very high standard," Barak says of NYCB. "The athleticism and the artistry that was expected of you…. You had to dance fast, move fast, move with grace and precision… A lot was expected of us every day." Ats 18, Barak was part of part of the inaugural class of Peter Martin's choreography workshop. Martins was impressed and "had his eye on her for other choreographic opportunities." So, when the Choreographic Institute began in 2000, she was invited to do a new piece. In 2006, Barak joined Los Angeles Ballet as a dancer, and in 2013 she launched her own company, Barak Ballet. In 2022, she was appointed Artistic Director of the Los Angeles Ballet. Barak's deep understanding of being a dancer informs her role as Artistic Director. "For me as a director, it's important to stay true to who I am," Barak told me. "I like talent. My focus is to find dancers who, when they dance, it's full energy, full passion, full dedication… who bring that athleticism and artistry to the mix. Musicality is important to me [as is] a work ethic... It's fun to guide a dancer to their full potential." Memoryhouse features dancers from Barak Ballet and from Los Angeles Ballet. In some scenes the dancers are in flat shoes, in others in ballet slippers. The mix of movement-styles is Barak's choreographic signature along with a specific emphasis and how the dancers use their arms, at times raised and at times to signal how a duet or group will move as they push, pull, lead, and follow each other. Memoryhouse had specific details that conjured, for me, scenes from the works of Holocaust survivors Imre Kertesz and Primo Levi. In one movement, the dancers move in a group shoulder to shoulder, their heads rolling. This movement reminded me of Hungarian Nobel Prize winner Kertesz's autobiographical novel, Fateless , in which a 14-year-old boy in Auschwitz describes the way the Nazis weaponized boredom, making the inmates stand for countless hours in roll calls, their heads nodding as they tried to stay awake. In a similar fashion, there were several scenes where the dancers were wearing neutral garments made me think of the ruthless depersonalization Levi described in "The Grey Zone" of The Drowned and the Saved. The second act opens in a burst of color with dancers who could be meeting in a bar or cabaret. At first, I thought this might be a pre-war flashback, or a vignette of life lived under false papers. The scenes that follow are different moments of resistance, survival, loss and death. The second act does not land as powerfully as the first and ends abruptly. Maybe that is intentional – perhaps Barak is making us feel the violence of the lives that were interrupted or maybe Barak is expressing the truth that although the War ended, for many the effects of the Holocaust didn’t. Memoryhouse is an emotional, visual, and movement-led journey, an experience that I hope will be performed and seen by many for years to come. Memoryhouse is significant not only because of its subject matter but also because of what it represents in terms of Barak's vision for the Los Angeles Ballet. In my conversation with Barak, we discussed both how she hopes to make the Los Angeles Ballet stand out, and how to make Los Angeles as much a home for dance as it has been for film, TV, and more recently the visual arts. At the base level, Dance in Los Angeles needs to foster a better infrastructure for dancers and companies to thrive. Greater financial and philanthropic support is certainly a top priority. This production of Memoryhouse was made possible by the support of The David and Janet Polak Foundation but more funders and sponsors are needed. On a more nuts and bolts level. The Los Angeles Ballet would benefit from having a permanent place of residency for the company’s performances, as well as a real home for ballet companies. Los Angeles has no real Disney Hall for dance, or dedicated dance performance space like The Joyce Theater in New York. Barak feels that to stand out, the Los Angeles Ballet will need to take risks and make bold choices regarding new work. It is a formula that over the last two decades has made the LA Phil the premier orchestra for new work, and that has drawn critics, artists, as well audience and supporters to Los Angeles. Barak has a vision for Los Angeles Ballet that will mix the new with the classic and that will focus on the dancers. However, without audience attendance and individual, corporate, and philanthropic support, Barak and all other dance companies in Los Angeles cannot succeed. All those who care about dance and want LA dance to thrive for the next generation, need to show up, however they can. The power and artistry of Barak’s Memoryhouse reminds us, as Balanchine said, "Dance is important and significant – yes. But first of all, it is a pleasure." READ ARTICLE AT SOURCE

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At the Los Angeles Ballet’s annual gala, the classical dance company honored three multi-talented, multi-hyphenates — Jenna Dewan Tatum, Derek Hough and Adam Shankman — all of them dancers among other accomplishments and passionate on the subject of dance. Home / News / New Item Los Angeles Times Covers LAB Gala 2018 February 1, 2018 LA Times by Ellen Olivier At the Los Angeles Ballet’s annual gala, the classical dance company honored three multi-talented, multi-hyphenates — Jenna Dewan Tatum, Derek Hough and Adam Shankman — all of them dancers among other accomplishments and passionate on the subject of dance. “Dance is my everything,” Dewan said during the cocktail hour. “All roads lead back to dance for me,” added the actress, dancer and host of “World of Dance.” “No matter what I do in my career, no matter what I do in my life, being a dancer informs me. It’s who I am.” A judge on “World of Dance,” Hough, an actor-dancer-author-choreographer, said he took his first official lesson at age 10, “but if I look at old home videos of myself and my family, and I can see we were dancing in our living room since we were born.” Hough holds a record on “Dancing With the Stars,” having won six mirror balls. Shankman said later from the podium, “As the story goes, I actually emerged from my mother doing cartwheels with a top hat and cane. … I dance to live and I live to dance, and God willing, I’ll die doing a cartwheel, still clutching my cane.” (The producer-director-choreographer’s current project is the “Enchanted” sequel, “Disenchanted.”) The Los Angeles Ballet celebrated “Swan Lake” on Feb. 24 with a black and white themed-gala at the Beverly Wilshire Hotel in Beverly Hills. More than $1 million was raised for its programming and educational outreach. Artistic directors Colleen Neary and Thordal Christensen introduced the dancers, who performed excerpts from “Swan Lake.” The interpretation of Spanish, Neapolitan, Hungarian and Russian folk dances and elegant black swan pas de deux were then followed by a young troupe from “A Chance to Dance,” Los Angeles Ballet’s program of free classes. Disney star Sofia Carson said earlier in the evening that she had recently taught one of these classes, which are offered to children ages 2 and older. Attending the gala with her sister Paulina, Carson said, “I was 3 when I took my first dance lesson, and it changed my life forever.” (She also said that her film “Descendants 3” would shoot in Vancouver this summer.) Mark L. Walberg, host of “Antiques Roadshow,” emceed the affair, with presenters Nigel Lythgoe, Brad Goreski and Mark Ballas; guests Camilla Belle, Emmanuelle Chriqui, Kimberly and James Van Der Beek, and others. Kirsten Sarkisian and Leslie Kavanaugh were co-chairs of the event, along with honorary committee chairs Sharon and Gray Davis, Marilyn and Robert Day, Ghada and Ray Irani, Lori and Michael Milken, Linda La Kretz-Duttenhaver and Richard Merkin. Tickets for the 325-plus guests began at $500, and tables ranged to $100,000. Proceeds also included a silent auction and additional donations. After suggesting that the crowd raise a glass to Los Angeles Ballet, “our beloved home team,” which he’d earlier described as “my Dodgers,” Shankman spoke, not only of his love of dance but also of the importance of supporting the arts. “If we are to leave any legacy of value to the next generations,” he said, “then it is our responsibility to support in every way imaginable institutions like the Los Angeles Ballet, and to do everything in our power both to bring people to us, and also to go into the communities, and to help this generation know that there is more to life than darkness and division and the arduous fight for justice, or even simply to be seen to feel safe.” READ ARTICLE AT SOURCE

On Wednesday the Los Angeles Ballet announced that its Board of Directors has appointed dancer and choreographer Melissa Barak as the company’s artistic director. Home / News / New Item For the first time, Los Angeles Ballet will have one artistic director: Melissa Barak August 24, 2022 Los Angeles Times Jessica Gelt READ ARTICLE AT SOURCE

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The other plum role, of course, is the evil Madge. She is first discovered cowering by James’ fire but is last seen towering triumphantly above his body. Home / News / New Item Los Angeles Ballet: L.A. Ballet soloists show sense of purpose, if not peak skills, in season debut February 25, 2008 Los Angeles Times by Lewis Segal The other plum role, of course, is the evil Madge. She is first discovered cowering by James’ fire but is last seen towering triumphantly above his body. Why did she wreck such evil, so out of proportion to the original offense? Her answer is a drumming of her fingers on her chest. “I,” “I,” “I,” she gestures, because James offended her. DOWNLOAD PDF

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

American Ballet Theater icon Misty Copeland has over 402,000 followers on Instagram. To compare, athletes like Venus and Serena Williams have 89,500 and 992,000 followers, respectively. Michael Phelps has 462,000. Danica Patrick has 26,900. Home / News / New Item These Are The Ballerinas And Ballerinos Of Instagram February 5, 2015 HuffingtonPost.com by Katherine Brooks American Ballet Theater icon Misty Copeland has over 402,000 followers on Instagram. To compare, athletes like Venus and Serena Williams have 89,500 and 992,000 followers, respectively. Michael Phelps has 462,000. Danica Patrick has 26,900. Of course, ballet is easily the most photogenic of the sports. An art form that toes the line between performance and feats of athleticism, it’s filled with pirouettes and arabesques that when frozen in a frame appear like paintings or perfectly sculpted statues. Misty’s Instagram account is filled with shots both on and off a stage, flexing her muscles and practicing her craft. And she’s hardly the only ballerina — or ballerino — to grace the platform. One glimpse at the popular Ballerina Project account, followed by an impressive 641,000, and it’s easy to see why dance fans are quick to double click on the endless stream of posed portraits. We’ve explored the power of a ballet hashtag before. But now we’re focusing on the photos we share and their ability to communicate so much about a realm built on visual splendor. Below we’ve compiled a list of our favorite ballet and dance-related Instagram accounts, from principals and soloists across the country to the companies that document their every performance and rehearsal with the touch of an iPhone. For those not lucky enough to live down the subway line from Lincoln Center, it’s pretty astounding the degree of backstage access you can get from perusing your favorite dancers’ accounts. READ ARTICLE AT SOURCE

Download this article Home / News / New Item The Curtain Rises for L.A. Ballet November 22, 2006 Palisadian-Post by Libby Motika Download this article DOWNLOAD PDF

Los Angeles Ballet dancer Christopher McDaniel has added published author to his long list of accomplishments. Home / News / New Item LAB Dancer Christopher McDaniel Gets Published August 2, 2013 Company News from the Staff at LAB Los Angeles Ballet dancer Christopher McDaniel has added published author to his long list of accomplishments. His story, "A Dance with Destiny," was included in the recently published Chicken Soup for the Soul: From Lemons to Lemonade. Purchase the book now to read Christopher's inspiring story. 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