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Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Natalia Burns Hometown Orange County, CA Seasons with LAB 3 Season with LAB Natalia began her pre-professional training at Westside School of Ballet. She then went on to attend summer intensives at Houston Ballet, American Ballet Theatre, San Francisco Ballet, Chautauqua Dance Institution, and Jacob’s Pillow on scholarship. In 2021, Natalia joined the Professional Division at Pacific Northwest Ballet, where her repertoire included works by Crystal Pite, George Balanchine, and Kent Stowell. In 2023, Natalia joined the Los Angeles Ballet. Her repertoire has included works by Melissa Barak, Hans Van Manen, Yuri Possokhov, Annabelle Lopez Ochoa, Stanton Welch, Edward Liang, and Alexei Ratmansky. Natalia is a National YoungArts Award Winner in Dance.

Los Angeles Ballet is excited to unveil LAB’s 2014/2015 season, which includes the Tchaikovsky Trilogy, with three full-length ballets featuring the music of Peter Tchaikovsky, plus a mixed bill program of contemporary masterworks. Home / News / New Item 2014/2015 Season Announced June 1, 2014 Company News from the Staff at LAB Los Angeles Ballet is excited to unveil LAB’s 2014/2015 season, which includes the Tchaikovsky Trilogy, with three full-length ballets featuring the music of Peter Tchaikovsky, plus a mixed bill program of contemporary masterworks. Swan Lake will open the season in October 2014, followed by LAB's acclaimed production of The Nutcracker. Closing out the Tchaikovsky Trilogy in February/March 2015 will be The Sleeping Beauty, a World Premiere choreographed by LAB Co-Artistic Directors Thordal Christensen and Colleen Neary. In May/June 2015, Christensen and Neary will present Directors' Choice, contemporary and classical pieces to challenge and delight dancers and audience alike, including Balanchine's Tchaikovsky Piano Concerto No. 2.

Sech Tanze 2015 Kylián / Mozart Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Julie Cinquemani & Christopher McDaniel Julie Cinquemani & Britta Lazenga with Christopher McDaniel and Zachary Guthier Britta Lazenga & Zachary Guthier LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Read the full article. Home / News / New Item Visions of Nutcrackers November 23, 2006 Los Angeles Daily News by Vicki Smith Paluch READ ARTICLE AT SOURCE

Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary are excited to be reviving their production of La Sylphide, choreographed by Christensen after the original 19th century ballet by Danish choreographer August Bournonville. Home / News / New Item La Sylphide plus George Balanchine’s Serenade May 1, 2014 LAB Public Relations Performances to include: The full-length romantic story ballet La Sylphide, choreographed by Thordal Christensen after August Bournonville George Balanchine’s Serenade Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary are excited to be reviving their production of La Sylphide, choreographed by Christensen after the original 19th century ballet by Danish choreographer August Bournonville. Having debuted La Sylphide in 2009, this will be the second time Los Angeles Ballet has brought the production to Los Angeles audiences. “Los Angeles Ballet’s performances in 2009 were exemplary, among the finest achievements in the company’s history,” said Lewis Segal in his recent LA Times article, ‘Faces to Watch 2014.’ Continuing LAB’s mission to offer world-class professional ballet to greater LA, the program will be performed at four of LAB’s home venues: UCLA’s Royce Hall, The Alex Theatre in Glendale, Redondo Beach Performing Arts Center, and Valley Performing Arts Center in Northridge. Los Angeles Ballet is also excited to announce that it will be touring out of California for the first time, presenting La Sylphide and Serenade to Seattle, Washington audiences June 27, 2014, at McCaw Hall at Seattle Center. Beginning May 31st, with performances through June 21st in Los Angeles, the two-act story ballet La Sylphide will be paired with George Balanchine’s romantic Serenade. La Sylphide, recounts the tale of a Scotsman enamored of an entrancing woodland sprite (a sylph) and the poisonous interference of a witch, with tragic results. Serenade is unquestionably one of Balanchine’s most popular and beloved ballets. Set to Tchaikovsky’s Serenade for Strings, the ballet evokes a moonlit world of romantic attraction and betrayal. Colleen Neary says, “La Sylphide and Serenade are two of the most romantic and, some say, most tragic ballets choreographed – the former with a story and the other without a literal one. There is a deep spiritualism to both.” About Los Angeles Ballet Founded in 2004 by Artistic Directors Thordal Christensen and Colleen Neary, and Executive Director Julie Whittaker, Los Angeles Ballet is known for its superb stagings of the Balanchine repertory, stylistically meticulous classical ballets, and its commitment to new works. LAB has become recognized as a world-class ballet company, in eight seasons presenting 24 productions encompassing 50 works, including 15 commissioned world premieres. Los Angeles Ballet ‘tours’ throughout LA County, regularly appearing at four venues. This past summer the Los Angeles Music Center presented Los Angeles Ballet at Grand Park, with more than 3,000 attending the outdoor performance. Since its inception in 2006, LAB’s Power of Performance (POP!) program has provided thousands of free tickets to underserved or disadvantaged children, seniors, veterans, and their families. LAB's A Chance to Dance Community Days outreach program was launched in October 2012. About Thordal Christensen Among Thordal Christensen’s many credentials are an impressive performing career, successful leadership of one of the world's major ballet companies, critically applauded original choreography, and a proven commitment to dance education. Born in Copenhagen, Denmark, Christensen received his ballet training at The Royal Danish Ballet School and at the School of American Ballet in New York City before a performance career that included the Royal Danish Ballet, New York City Ballet, and Pacific Northwest Ballet. Christensen then returned to Denmark where he was Artistic Director of the Royal Danish Ballet. This blend of Bournonville and Balanchine tradition is one of the defining themes of his career, and has shaped the unique artistic vision that Christensen, along with his wife Colleen Neary, bring to Los Angeles Ballet. In 2002, he was made Knight of the Dannebrog by Queen Margrethe II of Denmark. About Colleen Neary Colleen Neary brings to Los Angeles Ballet the benefits of her vast experience as one of George Balanchine's quintessential ballerinas. In her experience as a dancer, teacher, and ballet mistress, she also worked closely with other luminaries of 20th century dance, including Rudolf Nureyev, Maurice Béjart, and Jiří Kylián. Born in Miami, Florida and trained at The School of American Ballet, Neary danced in New York City Ballet under the direction of George Balanchine, then for Maurice Béjart's Ballet du XXième Siecle, and Pacific Northwest Ballet. Neary was personally selected by Balanchine to teach his choreography to major companies all over the world as a repetiteur for The George Balanchine Trust. DOWNLOAD PDF

Co-Artistic Director Thordal Christensen announced the promotion of Ms. Noelle to LAB Principal Dancer at the curtain call of the December 17th 1 pm performance of The Nutcracker at Royce Hall, UCLA. Home / News / New Item Allynne Noelle Appointed Los Angeles Ballet Principal Dancer December 1, 2011 Company News from the Staff at LAB Co-Artistic Director Thordal Christensen announced the promotion of Ms. Noelle to LAB Principal Dancer at the curtain call of the December 17th 1 pm performance of The Nutcracker at Royce Hall, UCLA.

The new troupe learns from 'Nutcracker' and forges bravely ahead with Balanchine and Bournonville in March. By Lewis Segal Read the full article Home / News / New Item L.A. Ballet - after the Christmas dream January 1, 2007 Los Angeles Times Los Angeles Ballet gave its final performance of "Nutcracker" on Saturday at the Alex Theatre in Glendale: a rite of passage, for the next time we see this brand-new company it won't be dancing a homemade version of the Christmas kiddie classic but rather grown-up masterworks from the international repertory. That's a big step — one that dozens of Southland companies that present annual "Nutcracker" performances never take. It was brave of artistic directors Thordal Christensen and Colleen Neary to launch LAB with a ballet presented by virtually every classical school or troupe in the whole region plus visiting ensembles from Russia and Korea. And it's braver still to schedule serious Balanchine and buoyant Bournonville for the company's first 2007 performances in March. There's no place to hide in that kind of rep, and though guest artists will again ensure high standards in principal roles, the challenge will be to develop a company style beyond the well-drilled but essentially faceless corps dancing that "Nutcracker" provided. If that statement sounds cruel, consider that American Ballet Theatre — our nation's classical behemoth — seldom achieves anything beyond well-drilled and faceless corps dancing nowadays. But ABT doesn't dance Balanchine's super-refined "Concerto Barocco," and maybe that's just as well. "Nutcracker" looked better organized on Saturday than it had early in December, though the party scene again proved confused and there seemed no sense of purpose — dramatic or choreographic — in the battle between the toy soldiers and the mice. The important scenic and character transformations on view lacked magic. And it would have helped if the Nutcracker (Erik Thordal-Christensen, son of the artistic directors) actually looked like a nutcracker and not just another toy soldier. Act 2 confirmed the classical prowess and personal star power of Oleg Gorboulev and Corina Gill in the Arabian dance, provided a flashy showpiece for the 14-year-old wunderkind Lilit Hogtanian as Clara and allowed Maria Kowroski and Stephen Hanna (guests from New York City Ballet) to display formidable mastery in supported adagio intricacies. You could regret that their solos were moved earlier than Tchaikovsky intended and that the Mirlitons divertissement was cut, but the score was again given loving care by conductor Eimear Noone and her musicians. And, happily, the Alex Theatre offered more space for Catherine Kanner's scenic vistas than the cramped Wilshire Theatre stage allowed when this "Nutcracker" premiered. That's one lesson LAB learned in 2006 — that Southern California has many midsize theaters that look great from the seats but, because they are converted movie houses, have no room on the stage for elaborate scenery or large-scale choreographies. Another lesson — that the ballet public isn't interested in 5 p.m. shows — helped cause a cutback from 12 "Nutcracker" performances to nine. "We will consider everything we've discovered from this first run," the directors said in a statement, "and make necessary adjustments for our upcoming season." Necessary adjustments may be one key to LAB's survival in a ballet landscape haunted by memories of companies that started strongly and even flourished, for a time, without enlisting the longterm support of the public that flocks to touring attractions. There are always plenty of people who say they want someone to start a local ballet company with major artistic ambitions — but too many really mean they want ABT to relocate. Los Angeles Ballet estimates that it danced for more than 6,000 ticket-holders in December. That's a start, but not nearly a large enough audience base to sustain a year-round professional institution. If Christensen and Neary can't rely on the balletomanes in our community who yammer about homegrown classicism but don't show up at the ticket window, developing a new, loyal audience is the key to their future. And that will take more energy and imagination than everything they've done so far. DOWNLOAD ARTICLE (PDF)

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Sarah-Ashley Chicola Hometown Westfield, NJ Seasons with LAB 3 Seasons with LAB Sarah-Ashley trained at American Ballet Theater’s JKO program, Manhattan Youth Ballet, and was then invited to attend Miami City Ballet School with a full scholarship, where she performed alongside the company. After graduating in 2021, she joined BalletMet 2, where she danced for two seasons. Since joining LAB in 2023, she has performed the featured roles of Cinderella in Liang’s Cinderella , Marie in The Nutcracker , Russian Girl in Balanchine’s Serenade , The Princess in Possokov’s Firebird . She has been featured in neoclassical ballets by Melissa Barak and Justin Peck.

Read the full article Home / News / New Item On Their Toes - Los Angeles Ballet...Pirouetting its Way to Top Honors December 1, 2012 LA Confidential by Emili Vesilind DOWNLOAD PDF

Download PDF to read article. Home / News / New Item Los Angeles Ballet CELEBRATION March 11, 2011 CultureSpotLA by Penny Orloff Download PDF to read article. DOWNLOAD PDF

Los Angeles Ballet gave its final performance of "Nutcracker" on Saturday at the Alex Theatre in Glendale: a rite of passage, for the next time we see this brand-new company it won't be dancing a homemade version of the Christmas kiddie classic but rather grown-up masterworks from the international repertory. Home / News / New Item The New Troupe Learns From 'Nutcracker' and Forges Bravely Ahead with Balanchine and Bournonville January 1, 2007 Los Angeles Times by Lewis Segal Los Angeles Ballet gave its final performance of "Nutcracker" on Saturday at the Alex Theatre in Glendale: a rite of passage, for the next time we see this brand-new company it won't be dancing a homemade version of the Christmas kiddie classic but rather grown-up masterworks from the international repertory. That's a big step — one that dozens of Southland companies that present annual "Nutcracker" performances never take. It was brave of artistic directors Thordal Christensen and Colleen Neary to launch LAB with a ballet presented by virtually every classical school or troupe in the whole region plus visiting ensembles from Russia and Korea. And it's braver still to schedule serious Balanchine and buoyant Bournonville for the company's first 2007 performances in March. There's no place to hide in that kind of rep, and though guest artists will again ensure high standards in principal roles, the challenge will be to develop a company style beyond the well-drilled but essentially faceless corps dancing that "Nutcracker" provided. If that statement sounds cruel, consider that American Ballet Theatre — our nation's classical behemoth — seldom achieves anything beyond well-drilled and faceless corps dancing nowadays. But ABT doesn't dance Balanchine's super-refined "Concerto Barocco," and maybe that's just as well. "Nutcracker" looked better organized on Saturday than it had early in December, though the party scene again proved confused and there seemed no sense of purpose — dramatic or choreographic — in the battle between the toy soldiers and the mice. The important scenic and character transformations on view lacked magic. And it would have helped if the Nutcracker (Erik Thordal-Christensen, son of the artistic directors) actually looked like a nutcracker and not just another toy soldier. Act 2 confirmed the classical prowess and personal star power of Oleg Gorboulev and Corina Gill in the Arabian dance, provided a flashy showpiece for the 14-year-old wunderkind Lilit Hogtanian as Clara and allowed Maria Kowroski and Stephen Hanna (guests from New York City Ballet) to display formidable mastery in supported adagio intricacies. You could regret that their solos were moved earlier than Tchaikovsky intended and that the Mirlitons divertissement was cut, but the score was again given loving care by conductor Eimear Noone and her musicians. And, happily, the Alex Theatre offered more space for Catherine Kanner's scenic vistas than the cramped Wilshire Theatre stage allowed when this "Nutcracker" premiered. That's one lesson LAB learned in 2006 — that Southern California has many midsize theaters that look great from the seats but, because they are converted movie houses, have no room on the stage for elaborate scenery or large-scale choreographies. Another lesson — that the ballet public isn't interested in 5 p.m. shows — helped cause a cutback from 12 "Nutcracker" performances to nine. "We will consider everything we've discovered from this first run," the directors said in a statement, "and make necessary adjustments for our upcoming season." Necessary adjustments may be one key to LAB's survival in a ballet landscape haunted by memories of companies that started strongly and even flourished, for a time, without enlisting the longterm support of the public that flocks to touring attractions. There are always plenty of people who say they want someone to start a local ballet company with major artistic ambitions — but too many really mean they want ABT to relocate. Los Angeles Ballet estimates that it danced for more than 6,000 ticket-holders in December. That's a start, but not nearly a large enough audience base to sustain a year-round professional institution. If Christensen and Neary can't rely on the balletomanes in our community who yammer about homegrown classicism but don't show up at the ticket window, developing a new, loyal audience is the key to their future. And that will take more energy and imagination than everything they've done so far. DOWNLOAD PDF

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Poppy Coleman Hometown Portland, OR Seasons with LAB 4 Seasons with LAB Poppy studied at The Portland Ballet and joined the Pacific Northwest Ballet Schools' Professional Division program in 2020. While a student, she performed in company productions of George Balanchine’s The Nutcracker and Kent Stowell’s Swan Lake . Poppy joined the Los Angeles Ballet as a company member in 2022.