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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. Leya Graham Hometown Seasons with LAB 1 Season with LAB Available shortly

For all the opening-night jitters and imperfections, Los Angeles Ballet gave a credible, even moving, performance of “Giselle” on Saturday at the Redondo Beach Performing Arts Center. The essential Giselle experience remained intact: Love survives the grave, bestows forgiveness on an unworthy bad boy and transforms him into a decent human being. Home / News / New Item Los Angeles Ballet Dances 'Giselle' May 15, 2011 Los Angeles Times by Chris Pasles For all the opening-night jitters and imperfections, Los Angeles Ballet gave a credible, even moving, performance of “Giselle” on Saturday at the Redondo Beach Performing Arts Center. The essential Giselle experience remained intact: Love survives the grave, bestows forgiveness on an unworthy bad boy and transforms him into a decent human being. Hmm. Sounds like the plot of a movie or two, or a dozen. Giselle is a village girl courted by a prince disguised as a peasant. She falls in love with him, but when she finds out his identity -- and that he’s engaged to someone else -- she loses her mind and dies. End of ballet? Not by a long shot. In Act 2, she appears as a spirit newly enrolled in the ranks of the Wilis, night creatures that wreak vengeance on perjured suitors. Giselle resists her new duties and saves her prince. Allyssa Bross danced the title role with appealing sweetness and vulnerability. She made her mad scene nuanced and sparked with creepiness, and if she had some unsteadiness in her ghostly extended balances, she more than compensated elsewhere with poise. Giselle’s character is straightforward, but that of Prince Albrecht is ambiguous. Is he merely dallying, really in love, torn between court and country? Unfortunately, Christopher Revels gave no clear take on the prince’s motives, although his repentance and sense of loss at the end looked genuine. Revels danced with princely bearing, partnered with consideration, and executed his second act marathon challenges with strength, though he looked more on the edge of real rather than dramatic exhaustion. Chehon Wespi-Tschopp was an intense Hilarion, a villager also in love with Giselle. His prestissimo spins to his death at the hands of the Wilis were terrific. Kate Highstrete made Myrtha, the Queen of the Wilis, an other-worldly creature of pitiless steel. The Peasant Pas de Deux was danced by Allynne Noelle and Zheng Hua Li (who alternates in the role of Prince Albrecht). Noelle was sunny and graceful. Li had crisp, flashing legwork, but tended to land badly. The corps looked well-schooled, although earthbound. The company danced to pre-recorded music. The production was from the Louisville Ballet. Ben Pilat provided the dramatic lighting. L.A. Ballet company co-director Thordal Christensen tweaked the traditional Coralli-Perrot-Petipa choreography, cutting some virtuosic demands, adding some mime, and inventing a poor couple who provide their cottage as the prince’s local digs. Christensen’s wife and company co-director, Colleen Neary, enacted Giselle’s mother, Berthe, with fuss and worry. 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

It’s all shiny and assured good news for Los Angeles Ballet — as well as the evolving character of Princess Aurora — in the lean, deftly satisfying production of “The Sleeping Beauty” that L.A. Ballet founders Thordal Christensen and Colleen Neary have been debuting this winter in four different SoCal theaters. Home / News / New Item Los Angeles Ballet’s Notable “The Sleeping Beauty” March 2, 2015 artsjournal.com by Jean Lenihan It’s all shiny and assured good news for Los Angeles Ballet — as well as the evolving character of Princess Aurora — in the lean, deftly satisfying production of “The Sleeping Beauty” that L.A. Ballet founders Thordal Christensen and Colleen Neary have been debuting this winter in four different SoCal theaters. The third concert in L.A.B.’s year-long Tchaikovsky Trilogy — “Swan Lake” and “Nutcracker” preceded it — this convincing after-Petipa “Sleeping Beauty” is both a great ticket and a heartwarming achievement in a city that is currently a century late in securing a lasting indigenous ballet company. Under Christensen and Neary, the 9-year-old Los Angeles Ballet operates on a crafty, 21st-century model — a sleek company of 37 or so travels with taped music bringing great Balanchine repertory and full-blown story ballets to audiences in their neighborhood theaters. The nomadism is certainly building unshakeable and sophisticated dancers as the years go by, as well as developing convivial, cozy audiences. Last weekend at the handsome Valley Performing Arts Center in Northridge, the 2nd of four “Sleeping Beauty” tour stops, L.A.B.’s company principals comfortably nailed the deviously exposing Petipa feats — multiple turns, brutal balances, leaping jumps, fish dives, et al — while the audience’s relaxed energy organically grew to high enthusiasm. Together, it seemed, mutual energies heated over the 3-act ballet — exactly what should be happening for a young hometown team that’s proving to be a winner. Matching Tchaikovsky’s dreamy score with strong production values goes a long way to cue this fairy tale, and the opulent sets and costumes by David Walker, originally created for a 1977 Royal Ballet production, provide the right note of layered enchantment. Marbled halls and sylvan depths are unfurled, inhabited by a royal court plumed in white wigs and bejeweled velvets, celebrating the arrival of the royal princess. The fairies arrive to the christening in perfect dinner-plate tutus, quirky and courtly spell casters in an ever pleasing array of florals. Though there’s no sustained darkness in this production — the ensuing fights with evil, overlooked Carabosse (Colleen Neary) are settled quickly — the inventive flying-monkey henchman that support the angered fairy, along with Neary’s steely cursing pantomime, provides a successfully sharp and pointed dynamic (not unlike the later, fateful pinprick). After five or more seasons with the troupe, the core of featured principals on Saturday night — Allyssa Bross (Aurora), Allynne Noelle (Lilac Fairy) and Kenta Shimizu (Prince Désiré) — delivered a nucleus of dancing rigor that grounded and carried nearly-three-hours worth of ballet. Without the technical prowess and emotive fire of the two women, in particular, L.A.B’s cheery, streamlined version of the Sleeping Princess story might have looked thin. With their confident skills — Brosse playing up the fancy in a flicked wrist; Noelle using slow port de bras to convey healing benevolence — the simple scenarios were rendered as smart and elegant. The new little touches that Christensen and Neary built into the choreography, like a blind’s man bluff game elaborated with riding crops, are enjoyable, but it’s surely the bountiful evocation of traditional phrases that Neary and Christensen coached from both the principals and the terrific young ensemble dancers that linger in the memory. On Saturday, Brosse’s lilting Aurora hit every pivotal mark: gathering four blooms from her suitors in the famed Rose Adagio with perfect balance, as if we were watching all the blessings she’d received in infancy take flower inside of her. Raising her back leg more and more firmly in attitude as she went on, she was so elevated with power and success by the end that the fast little beat she delivered to her ankle before freezing into her final pose of the scene was like a hat toss in the air. At the next two theaters, the Alex Theatre in Glendale and UCLA’s Royce Hall, Alleynne Noelle and Julia Cinquemani will each take a turn as Aurora, and Brosse will perform as the Lilac Fairy. Shimizu is the only scheduled Prince. After watching this Tchaikovsky Trilogy year — a season of memorable, home-run principal performances in big ballets — audiences will surely, undoubtedly, start to cheer their favorite L.A.B. lead dancers loudly, right out the gate, by next year. The caliber of musicality and interpretation in this evolving company is so good, its starting to throw its taped musical accompaniment into sharp relief. What to tell the young German college student, paying his first-ever visit to Los Angeles, who walked beside me, sharing appreciative smiles for the show as we exited, who said: “This was very good — but excuse me for my question.” He paused with a quizzical expression. “Is there always taped music for this ballet?” “The Sleeping Beauty” continues at the Alex Theatre in Glendale on Saturday March 21 and Royce Hall, UCLA, on Saturday and Sunday March 28-29. For information and tickets:http://losangelesballet.org/. READ ARTICLE AT SOURCE

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. Felipe Zapiola Hometown Salta, Argentina Seasons with LAB 1 Season with LAB Felipe trained at the Instituto Superior de Arte del Teatro Colón and graduated from Miami City Ballet School on a full scholarship. With Miami City Ballet School, he performed leading roles in Balanchine’s Western Symphony and Who Cares?, among other ballets. He also appeared with Miami City Ballet in productions of Balanchine’s Jewels, Prodigal Son, Firebird, and Ratmansky’s Swan Lake. Before joining Los Angeles Ballet, Felipe danced with The Sarasota Ballet and Ballet Pensacola.

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. James Zhenghua Li Joyce and Aubrey Chernick & Richard J. Riordan Character Artist Hometown Shen Yang, China Schools Shen Yang Arts Academy Companies Guangzhou Ballet Los Angeles Ballet 12th Season

La Sylphide 2019 Bournonville / Løvenskjold Petra Conti & Tigran Sargsyan Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Magnus Christoffersen Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Colleen Neary & LAB Bianca Bulle with Laura Chachich & Shelby Whallon Tigran Sargsyan & LAB Ensemble Petra Conti & LAB Ensemble Colleen Neary & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Petra Conti. Tigran Sargsyan & LAB Ensemble Colleen Neary & Tigran Sargsyan Colleen Neary, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Magnus Christoffersen Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Colleen Neary & LAB Bianca Bulle with Laura Chachich & Shelby Whallon Tigran Sargsyan & LAB Ensemble Petra Conti & LAB Ensemble Colleen Neary & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Petra Conti. Tigran Sargsyan & LAB Ensemble Colleen Neary & Tigran Sargsyan Colleen Neary, Tigran Sargsyan & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

To state the obvious, Los Angeles Ballet's identity will be forged through its repertory and how its dancers perform. Home / News / New Item Los Angeles Ballet: A spring in its step February 24, 2008 Orange County Register by Laura Bleiberg To state the obvious, Los Angeles Ballet's identity will be forged through its repertory and how its dancers perform. But the fledgling company's true branding will take form from the dances it commissions: the ballets it has that no one else does. Los Angeles Ballet artistic directors Colleen Neary and Thordal Christensen know that. So for this, the second season, they ordered up two new pieces for their 26 dancers. The first one, "Lost in Transition" by soloist Melissa Barak, debuted at the spring season opener this weekend at UCLA's Freud Playhouse. It is a smart, taut and whimsical winner. Ballet is not baseball, but let's just say that signing "free agent" Barak and bringing her back from Manhattan to her Los Angeles hometown was one of Neary's and Christensen's smartest decisions. Frustrated in the corps de ballet at New York City Ballet, and already an accomplished choreographic craftsman, Barak is blossoming further as a dancer with LAB. With "Lost in Transition," this 20-something advanced, too, as a dancemaker. Her four-movement premiere demonstrated clear purpose and great skill in execution, especially with the corps de ballet. The complicated layers and patterns she knitted for the all-female ensemble continuously surprised this viewer, and then delighted with each succeeding revelation. She gave us a trail of treats to follow using repeated motifs, which guided us gently, not obviously, through the piece. Barak's choreographic "voice" is rooted in the modernism of George Balanchine (like other NYCB alumni), but she is quickly finding her own movement colors and pitch. "Lost" is sleek abstraction, but with warm undertones, just like the (recorded) score, selections from two separate concerti by composer and virtuoso bassist Edgar Meyer. Barak began with an upstage line of women holding hands, their arms raised in a V. Like dominoes, they collapsed through a cascading canon. They pulled into a tight circle, and then burst open like flower petals exploding in fast motion. In the third movement, the corps was clumped in four tiered rows and occasionally burst into mechanistic, syncopated arm signals, a kinetic illustration of the chaotic musical outbursts unexpectedly sprinkled through Meyer's "Double Concerto for Cello and Double Bass." For her lead couples, Aubrey Morgan and Damien Johnson – two sensational newcomers – and Erin Rivera-Brennard and Peter Snow, Barak provided brisk, if less interesting, partnering challenges. But Barak was never timid – when Rivera-Brennard exited at one point, the abandoned Snow wandered sadly about until she returned. A trio for Sergey Kheylik, Lauren Toole and Kelly Ann Sloan was a sassy diversion, filled with loose torsos and rolling hips, big leaps for Kheylik and attacking footwork for Toole and Sloan. Patricia Guillem's neon-colored unitards and Tony Kudner's suggestively mysterious lighting were the appropriate finishing touches to this exciting piece. The program's other three ballets highlighted the many moods of Balanchine. Neary and Christensen spread about the solo parts, coaching every with exactitude. Overall, the dancers were more relaxed and greatly improved from a year ago. The cast approached the radical precision of "The Four Temperaments" (1946), to Paul Hindemith's equally revolutionary score, with still too much severity. But there were also sparks of adventurousness. In the "Melancholic" movement, Kheylik pulled his body to extremes, folding nearly in half forward and backward. His cat-like leaps soared ever upward and yet he still hit the floor, his body flat, on the beat. In "Sanguinic," Corina Gill amped up every inside and outside spin, losing a few, but still making the risks worthwhile. Her dependable partner, Peter Snow, also left caution at the wings and flew through his jumps. The dancers in the "Phlegmatic" section were one-note serious, but Andrew Brader's fluid arms and legs seemed to lengthen and ripple with each wave. The bravura "Tarantella" (1964, music by Louis Moreau Gottschalk) followed "Lost in Transition" on the program – a dessert when one was not needed. But Gill and guest artist Rainer Krenstetter made it the dance equivalent of sweet sherbet, a light entertainment intended only to please. Gill impressed with her pointe work and balance, while Krenstetter's sunny disposition and beautifully articulated beats made him an irresistible presence. The final act was devoted to "Who Cares?" (1970) and the dancers took to the Gershwin songs and the choreography's frothy sassiness with carefree and energetic eagerness. We were glad to see this other side of Los Angeles Ballet.. Barak was a sensuous and sophisticated soloist in "I'll Build a Stairway to Paradise." Despite a few bobbles, Nancy Richer brought lyrical playfulness to "My One and Only." Morgan and guest artist Eddy Tovar filled "The Man I Love Duo" with aching love. The male ensemble sprang with palpable joy. Los Angeles Ballet presented itself in the 600-seat Freud Playhouse, taking the box-office risks on its own shoulders. This same weekend at Royce Hall, UCLA Live was presenting the similarly attractive but inferior State Ballet of Georgia, and audience members commented to me how happy they were to see classical dance on the lineup. This is a ridiculous state of affairs. Los Angeles Ballet is coming up fast. Wake up, you folks at UCLA Live (and all you other presenters around town). Take this young talented group under your wing, because everyone will benefit. DOWNLOAD PDF

Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary announced the promotion of Zheng Hua Li to Principal Dancer and the promotion of Bianca Bulle, Alexander Castillo, Julia Cinquemani, and Chelsea Paige Johnston to Soloists. Home / News / New Item Five Dancers Promoted March 7, 2013 LAB Public Relations Los Angeles Ballet annnounces the promotion of five dances featured in the three-month Balanchine Festival beginning March 9, 2013 Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary announced the promotion of Zheng Hua Li to Principal Dancer and the promotion of Bianca Bulle, Alexander Castillo, Julia Cinquemani, and Chelsea Paige Johnston to Soloists. All five dancers will be featured in Balanchine Festival GOLD, opening Sat., March 9, 2013, and Balanchine Festival RED, opening Sat., May 11, 2013. Each program will be performed at Los Angeles Ballet’s five home theaters: Redondo Beach Performing Arts Center, Royce Hall/UCLA, Valley Performing Arts Center, Alex Theatre, and Carpenter Performing Arts Center. Zheng Hua Li was born and trained in Shen Yang, China. He danced with Guangzhou Ballet before joining Los Angeles Ballet. This is his fourth season with Los Angeles Ballet. During the upcoming Balanchine Festival GOLD, Mr. Li will dance the Poet in La Sonnambula and the lead in Phlegmatic in The Four Temperaments. Since joining LAB, Mr. Li has danced featured roles including the Cavalier in The Nutcracker, the Pas de Trois in Swan Lake and danced in LAB’s world premiere programs NewWaveLA and NextWaveLA in choreography by Sonya Tayeh, Mandy Moore, Travis Wall, and Stacy Tookey. Li joins current principal dancers Allyssa Bross, Allynne Noelle, Christopher Revels and Kenta Shimizu. Bianca Bulle was born in Gold Coast, Queensland, Australia where she trained at Ransley Ballet and Dance Centre before training at New York’s School of American Ballet. This is her second season with Los Angeles Ballet. During Balanchine Festival GOLD Ms. Bulle will dance the second lead (2nd Violin) in Concerto Barocco, and Second Theme in The Four Temperaments. Ms. Bulle has danced featured roles in The Nutcracker including Rose in Waltz of the Flowers and Marie (Sugar Plum Fairy), as well as in LAB’s world premiere program NextWaveLA in choreography by Kitty McNamee and Josie Walsh. Alexander Castillo was born in Bayside, New York and trained at Ballet Academy East, Boston Ballet, and School of American Ballet. This is Mr. Castillo’s third season with Los Angeles Ballet. During Balanchine Festival GOLD Mr. Castillo will dance the male lead in Concerto Barocco and Third Theme in The Four Temperaments. He has been featured in the Arabian dance in The Nutcracker, and the Pas de Trois in Swan Lake, as well in LAB’s world premiere program NextWaveLA in choreography by Sonya Tayeh and Stacey Tookey. Julia Cinquemani was born in Dallas, Texas and trained at the Dallas Ballet Center, Pacific Northwest Ballet and School of American Ballet. This is her third season with Los Angeles Ballet. During Balanchine Festival GOLD, Ms. Cinquemani will dance Third Theme in The Four Temperaments and the lead (1st Violin) in Concerto Barocco. Ms. Cinquemani has been featured in the Pas de Trois and the Russian dance in Swan Lake, as the Arabian and Marie (Sugar Plum) in The Nutcracker, as well as in LAB’s world premieres program NextWaveLA in choreography by Sonya Tayeh and Josie Walsh. Chelsea Paige Johnston was born in Carlsbad, California and trained with San Elijo Dance and Music Academy, Pittsburgh Ballet Theatre School and UC Irvine. She danced with Pittsburgh Ballet Theatre and Milwaukee Ballet II before joining Los Angeles Ballet. This is her fourth season with Los Angeles Ballet. During Balanchine Festival GOLD, Ms. Johnston will dance The Sleepwalker in La Sonnambula. Since joining Los Angeles Ballet she has danced the title role in Giselle, the Russian dance in Swan Lake, Marie (Sugar Plum) in The Nutcracker, and was featured in LAB’s world premiere programs NewWaveLA and NextWaveLA in choreography by Mandy Moore, Travis Wall, Kitty McNamee, and Josie Walsh. DOWNLOAD PDF

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Los Angeles Ballet first danced “Giselle” in its fifth season. Now, at the start of Season 10, it has returned to the full-length Romantic tragedy with great freshness and authority. Home / News / New Item Review: Missteps aside, Los Angeles Ballet brings new life to 'Giselle' October 4, 2015 Los Angeles Times by Lewis Segal Los Angeles Ballet first danced “Giselle” in its fifth season. Now, at the start of Season 10, it has returned to the full-length Romantic tragedy with great freshness and authority. At the Redondo Beach Performing Arts Center on Saturday, the level of classical dancing remained praiseworthy, but the big news involved the attempt to bolster the work’s dramatic credibility in Act 1. The unfamiliar Desmond Heeley scenery and costumes (borrowed from the National Ballet of Canada) and the unusually detailed and convincing portrayal of the jealous Hilarion by Alexander Castillo showed that this traditional staging of “Giselle” was being reconsidered or improved. In the title role, longtime principal Allyssa Bross again displayed a touching sweetness and vulnerability in her early scenes, but the superb fierceness and fury of her mad scene proved a welcome innovation. As Albrecht, Kenta Shimizu always partnered her skillfully, but the passion in his performance flowered in Act 2, where his high Romantic fervor exceeded anything I’ve seen in Shimizu’s seven seasons with the company. Julia Cinquemani and Dustin True brought a sense of occasion and honed technical abilities to the Peasant Pas de Deux, along with a brilliant knack for recovering perfectly from slips -- she at the beginning of a solo, he at the end. Indeed, True’s improvisation could well become an original virtuoso step-combination, if he can repeat it. A few small problems remained in Act 1: Berthe’s incomprehensible pantomime-speech, for example -- not how it was executed by company co-artistic director Colleen Neary, but the mime-text itself. In Act 2 the company’s refined classicism couldn’t offset major dramatic lapses. Kate Highstrete’s technically flawless but small-scaled dancing and mime as Myrtha never dominated the stage, the corps or the men intended to be her victims. The role needed a diva, and it didn’t help that everyone stood around doing nothing in particular when Myrtha’s evil power should have faltered in the face of true love -- or the magic of the cross in some stagings. What’s more (spoiler alert), the dawn of Albrecht’s salvation became merely a music cue in this version, without the change in lighting or corps attack that can and should be thrilling. One final disappointment: our last look at Albrecht. When you’re walking away from love beyond the grave, dignity is no substitute for heartbreak. That left Act 2 all about footwork: satisfying work by the corps, even better when the deep rapport between Bross and Shimizu informed their dancing. Some of Adolphe Adam’s music (on tape) seemed a mite slow for this spirited Giselle. It would be exciting to find her exploiting sudden tempo shifts. But her floating pointe-work and Shimizu’s climactic batterie set the seal on an evening that sent Los Angeles Ballet into an ambitious season of full-length classics, boldly and confidently. ---------- “Giselle” Who: Los Angeles Ballet Where: Program repeats at 7:30 p.m. Oct. 24 at the Alex Theatre, 216 N. Brand Blvd., Glendale, and at 2 p.m. Nov. 1 at Royce Hall at UCLA Tickets: $31-$99 Info: (310) 998-7782, losangelesballet.org READ ARTICLE AT SOURCE

La Sylphide 2014 Balanchine / Tchaikovsky Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

In January and February of this year, Colleen Neary is traveling by invitation to Orlando, Florida to set George Balanchine’s Agon and stage his Serenade and Who Cares? for Orlando Ballet. Home / News / New Item Colleen Neary in Orlando January 31, 2007 Company News from the Staff at LAB In January and February of this year, Colleen Neary is traveling by invitation to Orlando, Florida to set George Balanchine’s Agon and stage his Serenade and Who Cares? for Orlando Ballet.